The yellow on white field places this work squarely within the Cobra movement's conviction that spontaneous, unmediated drawing carries a load of meaning that considered composition cannot. Two forms share the space without negotiating it: a broadly looped heart contour, its left lobe rising higher than the right and its lower point pulling into a small closed oval, and a second passage - a long, flat ellipse crossing the heart's upper body at a diagonal - that reads as wing, leaf, or blade depending on the eye's mood. The small bracketed notations at the lower right, three minimal glyphs in the same cadmium yellow, function as a kind of sub-script or annotation, their reduced scale giving them the quality of a code the main image does not bother to explain.
The yellow on white field places this work squarely within the Cobra movement's conviction that spontaneous, unmediated drawing carries a load of meaning that considered composition cannot. Two forms share the space without negotiating it: a broadly looped heart contour, its left lobe rising higher than the right and its lower point pulling into a small closed oval, and a second passage - a long, flat ellipse crossing the heart's upper body at a diagonal - that reads as wing, leaf, or blade depending on the eye's mood. The small bracketed notations at the lower right, three minimal glyphs in the same cadmium yellow, function as a kind of sub-script or annotation, their reduced scale giving them the quality of a code the main image does not bother to explain.
- Curatorial note, wifärt gallery