Pretentious Yet Pointless
The viewer is drawn by the essential identity of the work into the world of single-axis asymmetric soft, closed signs with inner and outer crossings. Paradoxically, we see the leading centralism for power and authority curve back and forth, suggesting unreliability.
``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 owe little to the appearance of observed reality.'' [Brian Keeble, on Cecil Collins, Temeno 11, London, 1990, p.114]