Pretentious Yet Pointless
In constructive colour theory, the visual phenomena of the unexplored world are, in themselves, meaningless: the only worthy thing is feeling, as such. A particularly contentious aspect of this image is the arena of contrasting dark and light contrasting strongly with the arena of contrasting tone and hue so clearly visible. This image is integral to one of the central preoccupations of Sol Aris's art, the understanding of the strangely twisted downward floating articulations where the relationship of the spectator to the piece is a reflection of the artist's soul. The spectator is drawn by the essential identity of the work into the world of delicate sinuous curvilinear forms. The doodle shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. Such forms, intensely variegated, create complex and fascinating interactions with the self. The artist avoids a limited canvas to define the colours, which can by this means subsist in a world of their own choosing.
Sol Aris has not supplied the price of this doodle. A perpetually evolving network, the outstanding aesthetic sensibility of which remains unchanged, is often in a different form by the perception of the viewer. The work shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. The image shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. Such forms, delicately variegated, create disarmingly strong shivers of emotion. The artist does not use a limited canvas to define the colours, which therefore subsist in a world of their own making.
The decorated ground enriches the eternal contrast of Yin and Yang. This striking piece is quintessential to one of the central preoccupations of Sol Aris's art, the perception of the gently curved upward flying components where the relationship of the spectator to the piece is a natural sense which belongs to the basic senses of our nature. This picture is an expression of one of the central preoccupations of Sol Aris's art, the understanding of the impersonal forms and industrial colours where the essential identity to the sculpture is a reflection of the process of creation. The endless curves are forever engraved in a tribute to celebration. A particularly contentious aspect of this particular painting is that it is the pattern of unconscious thought.
Such forms, quietly formal, create disarmingly strong shivers of emotion. The here and now experience of form and space of Sol Aris's earlier works are clearly visible here, but in a different form. The receding curves are forever engraved in a tribute to celebration. Contrasts of salt and pepper emphasise the foreground of the work. The spectator is drawn by the scale and openness of the piece into the world of duty, responsibility, discipline and work.
The arena of contrasting salt and pepper of Sol Aris's earlier works are clearly visible here, but in a different form. The strangely twisted downward soaring components in this work, despite appearing disarmingly simple at first glance, create in the mind images strong in meaning and association... A notable feature of the painting is that it is the eternal contrast of Yin and Yang. Of a sudden, we see the leading centralism for strength curve back and forth, suggesting inconstancy. Such forms, delicately modulated, create a strong interaction of forces. Paradoxically, we see the short vertical line symbolising the inner ego curve back and forth, suggesting unreliability. The artist does not use a limited canvas to restrict the colours, which can by this means stand alone. An important part of this work is the gently curved upward flying articulations contrasting strongly with the impersonal forms and industrial colours to indicate the essential difference between pattern and texture. The spectator is drawn by the relationship of the viewer of the drawing into the world of epistemology of space and quintessential hereness.
The viewer is drawn by the scale and openness of the sketch into the world of the senses of sight and sound. The picture shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power.
The strangely curved quickly flying elements of Sol Aris's previous works are still present, but in a different form.
``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]