Pretentious Yet Pointless
Contrasts of light and shade march across the broad scope of this work. The layers of approaching curves are closed in a glorious send-up of misery. The layers of approaching curves are forever engraved in a parody of stereometric construction. In neo-impressionism, the visual phenomena of the manifest world are, in themselves, meaningless: the only worthy thing is feeling, as such. The artist avoids a rectangular grid to shape the colours, which thus subsist in a world of their own doing. The artist avoids a rectangular grid to contain the colours, which can by this means subsist in a world of their own making. The idea behind constructive colour theory is that it enables the artist to understand the composition in terms of dimensionality, rather than weight. In post-impressionistic art, the visual phenomena of the unexplored world are, in themselves, empty: the significant thing is feeling, as such.
``This art, facing forwards and inwards, is of images of expectation and spiritual progress that are freighted with no historical context at all and which owelittle to the appearance of observed reality''
[Brian Keeble on Cecil Collins, Temeno 11,, London 1990]