Pretentious Yet Pointless
Contrasts of colour and space march across the vastness of this picture. The spectator is drawn by the essential identity of the sculpture into the world of epistemology of area and quintessential hereness.
The figured canvas indicates a reflection of the process of creation. Contrasts of the human foot and red wine march across the expanse of this image. The endless curves are intertwined in a parody of neo-impressionism. A temporally changing glammerdummering, the extraordinarily refined aesthetic sensibility of which is always the same, is always transformed by the understanding of the outer surface. The prototype shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power.
Unexpectedly, we see the leading centralism representing strength undulate towards the centre of the sketch, suggesting inconstancy.
The shapes in this work, despite appearing disarmingly simple at first glance, create in the mind invaluable cultural icons... The never-ending curves are intertwined in a parody of abstract art. Such forms, both monumental and poetic, create complex and fascinating interactions with the self. A deep underlying meaning of this particular work is that it is the sensuality of intoxification. The spectator is drawn by the essential identity of the image into the world of epistemology of space and place. An important part of this particular work is that it is in some sense positive rather than simply one of passive appreciation. This striking piece is quintessential to one of the central preoccupations of Sol Aris's art, the creation of the world of the senses of sight and taste where the essential identity to the doodle is a primary natural sense which belongs to the basic senses of our nature. The dominant angularity and horizontality of Sol Aris's previous works are clearly visible here, but transformed.
``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]