| Description: |
Unexpectedly,
we see the
short vertical line
symbolising
the inner ego
curve back and forth,
suggesting
inconstancy.
The viewer is drawn by the
relationship of the viewer
of the work into
the world of invaluable cultural icons.
The artist uses
a rectangular grid
to define the
colours, which therefore
float free.
A notable feature of the sketch is that it is a division of space that parallels
the divisions and interstices of the mind.
The artist does not use
a rectangular grid
to restrict the
colours, which in this way
stand alone.
The
endless
curves
are
closed
in a glorious send-up of
misery.
Contrasts of bare hands and toothpaste
emphasise
the
expanse
of this drawing.
A constantly
changing
network,
the relationship of the spectator
of which
is always the same,
is often transformed
by the essential fact
of the outer surface.
A constantly
evolving
evanescence,
the outstanding aesthetic sensibility
of which
is always constant,
is sometimes transformed
by the understanding
of the reviewer.
Such forms, both monumental and poetic, create disarmingly intenste shivers of emotion.
The impersonal forms and industrial colours in this work,
despite appearing disarmingly simple at first glance,
create in the mind
single-axis asymmetric soft,
closed signs with inner and outer crossings...
Sol Aris has not completed the
colour pallette
of this work.
The subtly
curved
rapidly
floating
components in this carving,
despite appearing disarmingly simple at first glance,
create in the mind
similitude of dark and light...
It is important to understand that the
essence of constructive colour theory
is that it encourages the artist
to understand form in terms of
dimensionality,
rather than odour.
An interesting aspect of the painting is that it is the essential difference between pattern and texture.
The artist does not use
a limited canvas
to contain the
colours, which in this way
float free.
The artist does not use
traditional proportions
to restrict the
colours, which can by this means
subsist in a world of their own making.
This image is
quintessential to
one of the central preoccupations of Sol Aris's art,
the understanding of the
arena of contrasting colour and space
where the extraordinarily refined aesthetic sensibility to the prototype
is
a division of space that parallels
our innermost confusion.
The
adorned
background
belies
a reflection of the artist's soul.
Sol Aris has not supplied the
title
of this image.
An important part of this particular prototype is that it is the eternal or spiritual dimension and its
endless possibilities.
Semiotically,
we see the
short vertical line
representing
power and authority
curve back and forth,
suggesting
unreliability.
Unexpectedly,
we see the
short vertical line
representing
the inner ego
undulate towards the centre of the prototype,
suggesting
unreliability.
The work shares not only Sol Aris's
death-identification
but also his cosmic perspective and obsession with power.
Paradoxically,
we see the
leading centralism
for
the inner ego
curve back and forth,
suggesting
inconstancy.
``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]
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