The painting was begun in the top left area of the canvas where Cohen first executed the small linear fantasy in red which forms the core of the concentric pattern around it. This core was given emphasis by white dots placed along the lines. Cohen then developed the core by repeating its contour ten times with a softly sprayed black line, which he then overlaid with a thinner, sharply defined line of red. He then punctuated that phase of the painting with the fringe of radiating black lines. He then filled in the remaining vacant areas of the canvas with other clusters of linear fantasy of a different kind where a single line is entwined upon itself like a tangle of wool. He also painted repetitions, or versions, of the dots, in white and various colours. Finally he returned to the first form and began to extend the rings of red, spinning them like a web to cover the whole canvas and thus complete the work. Because of the off-centre placing of the original form, the red lines became compressed at the top and left edges producing an effect as if the spider had become demented, although at the same time the bottom right corner was untouched and had to be covered by a few token wanderings. The lower left corner is filled in with a small spiral which is the end of the last, incomplete, contour and which marks the completion of the painting. 'Floris' is one of a number of Cohen's paintings of the mid-sixties whose titles allude to his interest in the analogy between cooking and painting: the idea of the bringing together of separate ingredients which are then fused into a new whole, being common to both. 'Floris' is certainly a wonderful confection.
Simon Wilson, Tate Gallery: An Illustrated Companion, Tate Gallery, London, revised edition 1991, p.232