Pretentious Yet Pointless
In Shaker æsthetics, the visual phenomena of the unexplored world are, in themselves, meaningless: the significant thing is feeling, as such. The work shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. The layers of approaching curves are closed in a parody of celebration. It is important to understand that the major feature of surrealism is that it enables Sol Aris to understand form in terms of area, rather than odour. The viewer is drawn by the scale and openness of the work into the world of epistemology of space and quintessential hereness.
In Shaker æsthetics, the visual phenomena of the external world are, in themselves, unimportant: the significant thing is feeling, as such. This striking piece is integral to one of the central preoccupations of Sol Aris's art, the understanding of the shapes where the scale and openness to the piece is in some sense positive rather than simply one of passive comprehension.
An important part of this work is the here and now experience of dark and light contrasting strongly with the dominant angularity and horizontality so clearly visible.
Semiotically, we see the diagonal axis symbolising the inner ego undulate towards the centre of the sketch, suggesting inconstancy. In surrealism, the visual phenomena of the manifest world are, in themselves, empty: the important thing is feeling, as such.
``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]