The interlocking meanders of SPVIII 4 (1973), which recall earlier variations on the same motif, disturb the viewer’s perception: they turn back on themselves in the manner of Greek ornamental patterns, where the meander is never more than a simplification, creating interpretative ambiguities by reversing figure and background. Reduced to the status of an emblem, the meander – Knifer’s favorite motif – has a lasting effect on the viewer’s perception. It transforms the paintings into a means for meditation, indicating that, for the artist, art is a form of absolute concentration.