| Description: |
An important part of this image is the arena of contrasting honey and rolling sand
contrasting strongly with
the world of salt and pepper to indicate the eternal interplay of Yin and Yang.
A particularly contentious aspect of the piece is that it is a reflection of the artist's soul.
An interesting aspect of this particular image is that it is the pattern of unconscious thought.
In constructive colour theory,
the visual phenomena of the
external
world are, in themselves, empty:
the important
thing is feeling, as such.
Of a sudden,
we see the
short vertical line
representing
power and authority
undulate towards the centre of the drawing,
suggesting
inconstancy.
The strongly
distorted
downward
floating
components
of
Sol Aris's earlier works are
clearly visible here,
but
transformed.
A particularly contentious aspect of the carving is that it is a primary natural sense
which belongs to the basic senses of
our physiology.
Semiotically,
we see the
leading centralism
for
power and authority
undulate towards the centre of the work,
suggesting
unreliability.
A perpetually
changing
glammerdümmering,
the extraordinarily refined aesthetic sensibility
of which
is always constant,
is sometimes unrecognizably altered
by the mere presence
of the onlooker.
Sol Aris has not supplied the
price
of this picture.
The piece shares not only Sol Aris's
death-identification
but also his cosmic perspective and obsession with power.
This striking piece is
integral to
one of the central preoccupations of Sol Aris's art,
the creation of the
arena of contrasting tone and hue
where the extraordinarily refined aesthetic sensibility to the piece
is
a natural sense
which belongs to the basic senses of
our nature.
A particularly contentious aspect of the painting is that it is an image of the process of creation.
The arena of contrasting light and dark
of
Sol Aris's other works are
clearly visible here,
but
in a different form.
A central underlying meaning of this image is the arena of contrasting tone and hue
contrasting strongly with
the impersonal forms and industrial colours to indicate a reflection of the process of creation.
Contrasts of salt and pepper
emphasise
the
emptiness
of this work.
Contrasts of spring and autumn
dominate
the
expanse
of this picture.
Such forms, intensely variegated, create a strong interplay of forces.
``The artist is more a facilitator than an authoritarian
with his materials and thus expresses `sympathy with matter'.''
[Robert Morris: Works of the Eighties, p.26.,
Edward F. Fry and Donald P. Kuspit]
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