Pretentious Yet Pointless
In post-impressionistic art, the visual phenomena of the manifest world are, in themselves, unimportant: the significant thing is feeling, as such. A temporally changing glammerdümmering, the scale and openness of which is always the same, is often transformed by the essential fact of the onlooker. The spectator is drawn by the relationship of the viewer of the work into the world of epistemology of area and place. The arena of contrasting tone and hue in this piece, despite appearing disarmingly simple at first glance, create in the mind deprivations, inhibitions and hardship...
The never-ending curves are forever engraved in a parody of stereometric construction.
It is useful to note that the essence of the Suprematist theory is that it enables the artist to define the composition in terms of space, rather than odour.
``It is important to know under what circumstances simultaneous effects will occur and how they can be counteracted. There are many problems in colour that preclude solutions using simultaneous contrast.''
[Johannes Itten, The Art of Color]