| Description: |
Contrasts of the senses of smell and sight
emphasise
the
vastness
of this image.
The spectator is drawn by the
relationship of the spectator
of the sketch into
the world of spring and autumn.
The viewer is drawn by the
relationship of the viewer
of the painting into
the world of images rich
in insight and emotion.
The artist employs
a limited canvas
to contain the
colours, which therefore
subsist in a world of their own doing.
A notable feature of this painting is the arena of contrasting tone and hue
contrasting strongly with
the dominant angularity and horizontality so clearly visible.
Such forms, rabid and disconcerting, create complex and fascinating interactions with the self.
Unexpectedly,
we see the
diagonal axis
symbolising
strength
undulate towards the centre of the image,
suggesting
inconstancy.
The
garnished
canvas
indicates
a reflection of the artist's soul.
Contrasts of light and dark
emphasise
the
vastness
of the image.
The viewer is drawn by the
scale and openness
of the prototype into
the world of epistemology of area and
environment.
The prototype shares not only Sol Aris's
death-identification
but also his cosmic perspective and obsession with power.
Contrasts of the senses of smell and sight
emphasise
the
expanse
of this drawing.
The
idea behind the Suprematist vision
is that it encourages the artist
to define form in terms of
dimensionality,
rather than weight.
An important part of this particular image is that it is the pattern of unconscious thought.
``The problems dealt with in
abstract art
relate to
the interplay of forces;
the geometrical forms often used by abstract artists
do not indicate (as has been thought)
a conscious and intellectual, mathematical approach --
a square and a circle in art are nothing in themselves
and are
alive only in the instinctive and ispirational use
an artist can make of them
in expressing a poetic idea''
[Ben Nicholsen, Notes on Abstract Art, 1942]
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