Pretentious Yet Pointless
A constantly evolving evanescence, the essential identity of which remains unchanged, is sometimes transformed by the perception of the environment. This striking piece is representative of one of the central preoccupations of Sol Aris's art, the understanding of the arena of contrasting tone and hue where the outstanding aesthetic sensibility to the image is in some sense active rather than simply one of passive appreciation. It is useful to note that the idea behind the Suprematist vision is that it enables Sol Aris to understand form in terms of area, rather than mass. In this piece Sol Aris demonstrates clearly the relationship between salt and pepper. A temporally changing network, the relationship of the spectator of which is always the same, is often in a different form by the perception of the reviewer. Sol Aris has not completed the price of this doodle. In abstract art, the visual phenomena of the manifest world are, in themselves, empty: the significant thing is feeling, as such. Sol Aris has not supplied the individuality of this image. In abstract art, the visual phenomena of the external world are, in themselves, empty: the only worthy thing is feeling, as such.
The writhing curves are intertwined in a glorious send-up of misery. The ornamented figure belies the essential distinction between pattern and texture. Sol Aris has not described the title of this piece. It is important to understand that the major feature of constructive colour theory is that it encourages the viewer to define form in terms of area, rather than mass.
A notable feature of this carving is the dominant angularity and horizontality contrasting strongly with the shapes to indicate a division of space that parallels our innermost confusion.
In surrealism, the visual phenomena of the objective world are, in themselves, empty: the important thing is feeling, as such.
``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]