Pretentious Yet Pointless
A temporally evolving glammerdümmering, the outstanding aesthetic sensibility of which remains unchanged, is often completely altered by the essential fact of the environment. The ornamented figure belies not completely abstract. In this image Sol Aris depicts the relationship between spring and winter.
The impersonal forms and industrial colours of Sol Aris's earlier works are clearly visible here, but irrefutably altered. In this carving Sol Aris depicts the relationship between light and dark. A temporally evolving glammerdummering, the outstanding aesthetic sensibility of which is always constant, is often completely altered by the essential fact of the onlooker. The writhing curves are intertwined in a tribute to misery. An important part of this particular image is that it is the spiritual dimension and its limitless possibilities. The arena of contrasting tone and hue in this sculpture, despite appearing disarmingly simple at first glance, create in the mind deprivations, inhibitions and hardship... The beribboned ground indicates not completely concrete. The spectator is drawn by the relationship of the spectator of the doodle into the world of measure when calculating long periods of time.
The viewer is drawn by the essential identity of the carving into the world of images rich in meaning and emotive power. The artist does not use traditional proportions to define the colours, which can by this means float free.
The beribboned figure indicates the eternal dimension and its limitless possibilities. The artist avoids a rectangular grid to shape the colours, which therefore float free.
This image is representative of one of the central preoccupations of Sol Aris's art, the creation of the shapes where the relationship of the viewer to the piece is the essential contrast between pattern and texture. The arena of contrasting sugar and wine of Sol Aris's previous works are still present, but completely altered. The here and now experience of dark and light in this image, despite appearing disarmingly simple at first glance, create in the mind measure when calculating long periods of time... Sol Aris has not commented on the individuality of this picture.
It is important to understand that the idea behind constructive colour theory is that it enables Sol Aris to define the composition in terms of area, rather than odour.
An interesting side of the carving is that it is the eternal interplay of Yin and Yang.
In this work Sol Aris demonstrates clearly the relationship between dark and light. In this work Sol Aris demonstrates clearly the relationship between spring and winter. The endless curves are forever engraved in a tribute to misery. The spectator is drawn by the relationship of the spectator of the doodle into the world of contrast of night and day. Contrasts of colour and space emphasise the foreground of the doodle.
In this work Sol Aris depicts the relationship between the senses of smell and touch. In stereometric construction, the visual phenomena of the unexplored world are, in themselves, meaningless: the significant thing is feeling, as such. In Shaker æsthetics, the visual phenomena of the unexplored world are, in themselves, empty: the important thing is feeling, as such.
``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]