the entire body of work consists of uncompromising groups of rectangular and round pieces of form that are placed, moved, divided, shifted, tilted. every shape has a colour that is unrelentingly bright. the colours touch one another. there are no lines between them. they are colours without shadows. this is the idiom of bonies. i see ceaseless energy within clear-cut movements of form and colour. the boundaries of the colour are straight or curved. they originate in the practice of the imagination. corners are right angles, curves are segments of circles. bonies' belief in that morphology is unshakable. they are statements.
[...] it could go in any direction. it is, in fact, limitless. his art, too, became sturdy and immovable, just like a building. there is actually nothing to be added to those angular assertions, with their straight lines and pure circles. at most, this: the circle is the round form of the square. straight and round: these are the two great and essential summaries of form. they are unique and irreplaceable. you can use them to express what can scarcely be put into words but can in fact be seen.
however, years ago, i did venture to present a brief impression to bob bonies. the work is broad, i wrote at the time, and precise. it possesses a tough solidity, as if it wishes to be not only art but also, for example, a building. it actually wants to be used, to step outside of art. it wants, in its way, to become reality, not just a dream. that is how the russians, who inspired it, had envisaged it: large, simple, clear, smoothly tilting planes and colours that remain themselves. not in competition with nature––or perhaps so?
rudy fuchs, 2021 (excerpt from "bonies for example," in "bob bonies" (köln: verlag der buchhandlung walther und franz könig, 2021), p. 13.)
