With only two shades of yellow and a
touch of green, Guiragossian manages to
produce this masterpiece of simple
beauty and geometric significance. The
composition is set in two decentralized
squares or color zones, organized
according to a precise geometric system.
The coloration of the zones suggests
that they are in front of or behind one
another (whereby changes in the light
condition can intensify or even reverse
the spatial organization.) In contrast
to hard edge painting, the zones of
color meet without any linear
demarcation; the borders of color and
form are identical – a further
characteristic of Guiragossian’s extreme
economy of approach. Moreover, the upper
and left narrow color strips seem to be
more active than the lower broad one,
creating the illusion of steps.
As for the subject matter, the artist
has carefully carved into the saturated
yellow square three divine women with
their books, accentuated by strokes of
green for depth.
One may easily find Malevitch’s
suprematist influence in the geometrical
aspect of this painting, and the
prominent influence of Josef Albers
‘Homage to the Square’ with regard to
the yellow zones, which perhaps
Guiragossian meant to discreetly convey.