ECHO 3 - Invert, Subvert

This work was entered in the Lethbridge 20000 and comes in two parts.

Over the last several years, my style has developed from highly conceptual abstraction involving geometric shapes and utilising the space of large canvases, to currently working on a much smaller scale.
This progression means that my mark-making is now more intuitive, responding to the size of the canvas and knowing that every mark has an increased importance. 
I want to highlight the beauty of abstraction and garner emotional responses to the work, while retaining an intellectual curiosity about how the art is perceived.

Have you ever noticed how some gallery-goers spend more time reading the artwork’s Title Card than considering the artwork itself?  Are they are missing out on experiencing the art?  I think so and it bothers me!
In trying to overcome this, I have recently had success in presenting large square paintings hung as a lozenge (diamond) which made the viewer consider the artwork first. 
In this diptych, by inverting the Title Card and the artwork in size, framing and relation to each other, I am asking the viewer to reflect on the process of experiencing art itself: is there a ‘right way’ to see art; what does it mean to me; is my response valid? 

I have been playful in the Title Card text, detailing the movement that inspired the artwork, as well as referencing the reason for the inversion seen here.  The inverted presentation subverts how the art is perceived - Invert, Subvert.

The capacity of abstract art to ask these questions inspires my creativity.