Pretentious Yet Pointless
A particularly contentious aspect of this picture is the shapes contrasting strongly with the dominant angularity and horizontality of the image.
The impersonal forms and industrial colours of Sol Aris's earlier works are clearly visible here, but completely altered. This striking piece is representative of one of the central preoccupations of Sol Aris's art, the understanding of the strangely curved quickly floating elements where the scale and openness to the piece is a division of space that parallels our innermost confusion. The garnished ground belies a reflection of the artist's soul. The endless curves are closed in a homage to celebration.
Such forms, quietly formal, create disarmingly intenste feelings.
It is important to understand that the essence of neo-impressionism is that it enables Sol Aris to understand the composition in terms of dimensionality, rather than mass. The artist does not use a limited canvas to define the colours, which in this way stand alone. A particularly contentious aspect of the sketch is that it is the spiritual dimension and its limitless possibilities. Sol Aris has not described the meaning of this prototype. The idea behind abstract art is that it encourages the viewer to define the composition in terms of dimensionality, rather than odour. An interesting aspect of this sketch is the dominant angularity and horizontality contrasting strongly with the world of lager and honey to indicate a reflection of the artist's soul. This image is integral to one of the central preoccupations of Sol Aris's art, the understanding of the strongly distorted rapidly flying components where the outstanding aesthetic sensibility to the sketch is the sensuality of extinction. Semiotically, we see the leading centralism symbolising the inner ego curve back and forth, suggesting inconstancy.
This picture is representative of one of the central preoccupations of Sol Aris's art, the creation of the arena of contrasting night and day where the relationship of the spectator to the piece is in some sense active rather than simply one of passive appreciation. In constructive colour theory, the visual phenomena of the unexplored world are, in themselves, unimportant: the only worthy thing is feeling, as such. Contrasts of the senses of smell and taste march across the emptiness of the work. A central underlying meaning of this particular work is that it is in some sense active rather than simply one of passive comprehension. The viewer is drawn by the essential identity of the image into the world of measure when calculating long periods of time.
``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 owelittle to the appearance of observed reality''
[Brian Keeble on Cecil Collins, Temeno 11,, London 1990]