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As a fan of pure abstract art I have to admit that I tend to view these works as a compromise. I am more prepared to judge them as exciting experiments that haven’t quite worked out. The combination of flowers and abstract geometry flourishes in the more austere, Malevich (and maybe Rothko) inspired paintings (such as The Iris Nine Patch, The Poppy Nine Patch and the Aura and Karma pair), possibly because the irregularity of nature complements the squares, producing multi-layered works of art. Here the lines, shapes and forms are endowed with mobility that creates just enough inner tension and interest: the flowers and the branches fall out of the loop as they are no longer needed to perform the thematic task they did in the patches series.

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In fact, they don’t seem to perform any kind of task at all and may appear outright redundant! There is, however, a way to “solve” this “problem” — and it seems that Don Li-Leger is actually moving in this direction: regarding the works as “pastiches” rather than “paintings”. Pastiche seems like a more viable and appropriate genre category; it puts the viewer on a different path, unveils the artwork from a fresh perspective, and gives it a new life. Now there is no need for harmony; on the contrary, the less of it the better. Blossoms assume aesthetic meaning on their own right and the paintings become rich depositories of various stylistic features. Perhaps the artist achieves his synthesis after all.

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The color schemes are nearly identical — but reversed. The outermost squares contrast each other effectively, red repelling the green (or the blue), the two hues occupying opposing segments of the color wheel. Neutral beige divides the upper and lower part in a shrewd, Swiss kind of way. The colors balance each other out, but not completely: the more saturated red appears heavier, and either weighs the piece down (Aura) or pulls it up (Karma). I think that in order to achieve a complete balance (if it is indeed desirable — a matter of strictly personal choice) one needs to offset the former with the latter.

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Once again there is the temptation to try and guess the meaning of the colors, especially because most of them actually do not invite a straightforward likeness to something familiar. While the green and the blue parts most probably allude to a marine background, the yellowish-beige and the dark red seem indecipherable, and almost enigmatic. One reminds of sand and hot sun, but may just as well depict water under different lighting. The other projects a strong dusky vibe, but may in fact represent a part of an interior, which in turn would denote the flowers as still life! The artist tests his color formula in a different setting — harsh conditions — and proves its effectiveness once more.

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But there is a more abstract compositional feature that discloses kinship: in both paintings the artist emphasizes the cross shape, marked by darker colors in the first variation, an overall light piece, and lighter ones in the second, an overall dark piece. Arguably, the paintings carry religious overtones, although most probably Don Li-Leger alludes once again to Kasimir Malevich and his classic Black Cross.

The focus on a geometrical shape proves that these works are firstly abstract, secondly figurative. The irises themselves serve an auxiliary role of a thematic foil, which the audience sees through the stained-glass window squares.

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There is one characteristic which, depending on individual taste, may prove to be somewhat tiresome. The cross shapes contribute to a certain symmetry — which may feel oppressive after awhile. The artist solves this problem in other variations, the Orchid Nine Patch (print below) being an example of blissful imbalance that nevertheless retains the cross. It seems as though the artist was hesitant to go all abstract in the Irises and compensated for his irresolution by taking more risks in the Orchids. Eventually the abstract tendencies prevail over the flowers as the true experimental subject matter of the series.

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The nine squares remind of windows or doors: each one is a possible way out into the open, where the flowers grow. The artist establishes a link between indoors and outdoors, if only in the viewer’s mind. Each square is a basic abstract element based on Kasimir Malevich’s Black Square, and the entire work — the sum of the parts — is another allusion to the groundbreaking masterpiece. Sometimes it may seem that the geometry theme takes precedence over the rest, and the flowers only decorate the two dimensional plates. However, the muted emotional impact of symmetrical geometrical interplay cannot emulate the liveliness of the poppies, which literally pop up here, there and everywhere.

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Focusing solely on the decorative element gradually reveals that there is a full landscape distributed between the parts of whole. Interestingly, the mood makes itself felt even without a visual reconstruction; the general impression is of an autumnal, warm day progressing towards its end — a touch of romance and sadness with a large dose of warm optimism. The red of the flowers accords perfectly with the shades of brown, yellow and wine-red. The irregular form of the stems and the blooms enlivens the strict linear division. Ultimately, this painting relaxes and instills feelings of security because all elements complement each other without breaking into the other’s thematic territory.

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The humorous part consists of the artist’s invitation to play tag and try and recreate a more coherent landscape. The thing is, I don’t think it’s possible — it seems as though the painter cheats a little, teasing the audience. The semblance of a game tricks the viewers to fix their gaze on the piece for a little longer than usual, and absorb all that warm welcoming energy. The somewhat confusing light square in the middle serves as a vacuum area that catches the viewer’s attention, which then would be diffused between the peripheral squares. Eventually, this central “point of entry” gives the piece its edge: it keeps the color scheme slightly off-balance and reminds us that this is an abstract work of art after all.