Pretentious Yet Pointless
Contrasts of night and day emphasise the emptiness of this drawing.
In abstract art, the visual phenomena of the external world are, in themselves, empty: the significant thing is feeling, as such. The layers of approaching curves are enjoined in a glorious send-up of Shaker æsthetics. The decorated ground indicates not completely concrete.
The arena of contrasting tone and hue in this work, despite appearing disarmingly simple at first glance, create in the mind contrast of the senses of smell and taste... An important part of the image is that it is in some sense active rather than simply one of passive comprehension. Unexpectedly, we see the diagonal axis for the inner ego undulate towards the centre of the picture, suggesting inconstancy. In the Suprematist school, the visual phenomena of the external world are, in themselves, unimportant: the only worthy thing is feeling, as such. Semiotically, we see the diagonal axis representing power and authority undulate towards the centre of the work, suggesting unreliability. Contrasts of sugar and wine emphasise the broad scope of the work.
A deep underlying meaning of this particular image is that it is not completely concrete. A central underlying meaning of the carving is that it is the essential distinction between pattern and texture.