Pretentious Yet Pointless
A notable feature of this picture is the here and now experience of summer and winter contrasting strongly with the impersonal forms and industrial colours so clearly visible. This image is integral to one of the central preoccupations of Sol Aris's art, the perception of the subtly stretched rapidly reaching articulations where the scale and openness to the image is a primary sense which belongs to the basic senses of our physiology. Sol Aris has not described the individuality of this work. The arena of contrasting salt and pepper in this sculpture, despite appearing disarmingly simple at first glance, create in the mind duty, responsibility, discipline and work... Semiotically, we see the diagonal axis representing the inner ego undulate towards the centre of the work, suggesting inconstancy. The strangely distorted upward soaring articulations of Sol Aris's earlier works are clearly visible here, but entirely altered. The essence of constructive colour theory is that it enables the viewer to understand the composition in terms of space, rather than mass. The receding curves are closed in a tribute to neo-impressionism. The spectator is drawn by the scale and openness of the prototype into the world of single-axis asymmetric soft, closed signs with inner and outer crossings.
A temporally changing evanescence, the extraordinarily refined aesthetic sensibility of which remains unchanged, is always transformed by the perception of the viewer.
``It is important to know under what circumstances simultaneous effects will occur and how they can be counteracted. There are many problems in colour that preclude solutions using simultaneous contrast.''
[Johannes Itten, The Art of Color]