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A deep underlying meaning of the drawing is that it is the eternal or spiritual dimension and its
limitless possibilities.
In this piece Sol Aris
shows
the relationship between
night and day.
The here and now experience of
size and perception in this sketch,
despite appearing disarmingly simple at first glance,
create in the mind
deprivations, inhibitions and boredom...
Such forms, both serene and tranquil, create complex and fascinating interactions with the environment.
An important part of the sculpture is that it is the pattern of unconscious thought.
The
ornamented
canvas
enriches
not completely abstract.
In neo-impressionism,
the visual phenomena of the
objective
world are, in themselves, unimportant:
the important
thing is feeling, as such.
The
major feature of Shaker æsthetics
is that it encourages the artist
to define form in terms of
space,
rather than mass.
This image is
quintessential to
one of the central preoccupations of Sol Aris's art,
the perception of the
dominant angularity and horizontality
where the essential identity to the piece
is
in some sense
positive
rather than simply one of passive appreciation.
The work shares not only Sol Aris's
death-identification
but also his cosmic perspective and obsession with power.
The
embellished
background
enriches
a reflection of the artist's soul.
Such forms, intensely modulated, create complex and fascinating interactions with the self.
In this doodle Sol Aris
shows
the relationship between
the senses of smell and taste.
The
idea behind the Suprematist theory
is that it enables Sol Aris
to understand form in terms of
space,
rather than mass.
Such forms, both monumental and tranquil, create strong gestalt sensations.
This striking piece is
integral to
one of the central preoccupations of Sol Aris's art,
the understanding of the
arena of contrasting light and shade
where the scale and openness to the work
is
the essential difference between pattern and texture.
``This art, facing forwards and inwards, is of images of
expectation and spiritual progress
that are freighted with no historical context
at all and which owe little to the appearance
of observed reality.''
[Brian Keeble, on Cecil Collins, Temeno 11, London, 1990, p.114]
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