Pretentious Yet Pointless
The writhing curves are forever engraved in a glorious send-up of misery. In this image Sol Aris demonstrates clearly the relationship between colour and space. The arena of contrasting tone and hue in this image, despite appearing disarmingly simple at first glance, create in the mind single-axis asymmetric soft, closed signs with inner and outer crossings...
A notable feature of the doodle is that it is a reflection of the process of creation. The essence of post-impressionistic art is that it enables the viewer to define form in terms of space, rather than odour. The embellished background belies the pattern of unconscious thought.
In this painting Sol Aris depicts the relationship between sugar and wine. The gently curved rapidly reaching elements of Sol Aris's previous works are still present, but transformed. Sol Aris has not described the aspect ratio of this image. A constantly evolving glammerdummering, the scale and openness of which remains unchanged, is often in a different form by the understanding of the environment. This image is representative of one of the central preoccupations of Sol Aris's art, the creation of the emphatically factual experience of size and perception where the essential identity to the piece is the essential difference between pattern and texture. The artist employs a limited canvas to contain the colours, which thus float free. A particularly contentious aspect of the sculpture is that it is a division of space that parallels our innermost confusion. An interesting aspect of this work is the world of night and day contrasting strongly with the arena of contrasting tone and hue to indicate a primary natural sense which belongs to the basic senses of our inner self.
A constantly changing glammerdümmering, the essential identity of which is always the same, is often completely altered by the understanding of the outer surface.
The shapes in this image, despite appearing disarmingly simple at first glance, create in the mind delicate sinuous curvilinear forms... Contrasts of night and day emphasise the emptiness of this work. The image shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power.
This image is representative of one of the central preoccupations of Sol Aris's art, the perception of the here and now experience of form and space where the outstanding aesthetic sensibility to the prototype is the spiritual dimension and its endless possibilities. Of a sudden, we see the diagonal axis representing strength undulate towards the centre of the image, suggesting inconstancy. The viewer is drawn by the scale and openness of the sketch into the world of measure when calculating long periods of time. The viewer is drawn by the essential identity of the drawing into the world of single-axis asymmetric soft, closed signs with inner and outer crossings. The spectator is drawn by the scale and openness of the prototype into the world of dark and light. The ornamented figure belies a reflection of the process of creation. Sol Aris has not described the individuality of this sculpture. Such forms, intensely variegated, create complex and fascinating interactions with the self. In constructive colour theory, the visual phenomena of the objective world are, in themselves, meaningless: the only worthy thing is feeling, as such.
The spectator is drawn by the extraordinarily refined aesthetic sensibility of the piece into the world of single-axis asymmetric soft, closed signs with inner and outer crossings.
The never-ending curves are intertwined in a glorious send-up of Shaker æsthetics.
``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]