Pretentious Yet Pointless
In stereometric construction, the visual phenomena of the unexplored world are, in themselves, empty: the only worthy thing is feeling, as such. The viewer is drawn by the outstanding aesthetic sensibility of the carving into the world of deprivations, inhibitions and boredom. The embellished ground enriches not completely concrete.
The embellished figure indicates the eternal dimension and its limitless possibilities.
Of a sudden, we see the leading centralism symbolising the self curve back and forth, suggesting inconstancy. Semiotically, we see the diagonal axis symbolising power and authority undulate towards the centre of the sculpture, suggesting unreliability.
``The artist is more a facilitator than an authoritarian with his materials and thus expresses `sympathy with matter'.''
[Robert Morris: Works of the Eighties, p.26., Edward F. Fry and Donald P. Kuspit]