Pretentious Yet Pointless
Such forms, delicately variegated, create disarmingly intenste shivers of emotion.
The idea behind constructive colour theory is that it encourages the artist to define the composition in terms of space, rather than representational versimilitude. Contrasts of spring and autumn emphasise the broad scope of the work. The spectator is drawn by the scale and openness of the doodle into the world of duty, responsibility, discipline and work.
A constantly evolving network, the essential identity of which never changes, is often unrecognizably altered by the mere presence of the environment. The arena of contrasting tone and hue of Sol Aris's previous works are still present, but in a different form. The arena of contrasting honey and the dualistic essense of unreality in this work, despite appearing disarmingly simple at first glance, create in the mind graceful sinuous curvilinear forms... It is important to understand that the idea behind stereometric construction is that it enables Sol Aris to understand form in terms of space, rather than odour. In this painting Sol Aris delineates the relationship between spring and winter.
A particularly contentious aspect of the doodle is that it is the essential distinction between pattern and texture. The embellished background enriches not completely concrete. The dominant angularity and horizontality in this prototype, despite appearing disarmingly simple at first glance, create in the mind epistemology of area and environment... The artist uses a limited canvas to restrict the colours, which thus stand alone. The embellished background indicates in some sense active rather than simply one of passive comprehension. The carving shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. In this image Sol Aris depicts the relationship between dark and light.
Contrasts of the senses of smell and taste march across the foreground of this prototype.
Semiotically, we see the leading centralism for power and authority curve back and forth, suggesting inconstancy. The carving shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. The picture shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. In this carving Sol Aris depicts the relationship between the senses of sight and smell.
``What does it all mean? I have little idea... It seems to make use of an abstract idiom which is skirting very near to mere decorative doodling, rather intricately pretty, and yet it is clearly nothing to do with decoration because it's too obsessed.''
[Tate Gallery Guide, 1990, p.232]