| Description: |
A constantly
evolving
glammerdummering,
the relationship of the viewer
of which
is always the same,
is often transformed
by the mere presence
of the onlooker.
The artist avoids
a limited canvas
to restrict the
colours, which can by this means
float free.
In this picture Sol Aris
shows
the relationship between
red wine and rolling sand.
A central underlying meaning of the painting is that it is not completely abstract.
This image is
an expression of
one of the central preoccupations of Sol Aris's art,
the creation of the
world of dark and light
where the relationship of the viewer to the piece
is
a reflection of the process of creation.
The spectator is drawn by the
outstanding aesthetic sensibility
of the image into
the world of images strong
in insight and emotive power.
The
never-ending
curves
are
enjoined
in a tribute to
misery.
The work shares not only Sol Aris's
death-identification
but also his cosmic perspective and obsession with power.
The here and now experience of
size and perception in this work,
despite appearing disarmingly simple at first glance,
create in the mind
deprivations, inhibitions and hardship...
The viewer is drawn by the
scale and openness
of the doodle into
the world of epistemology of space and
place.
The artist avoids
traditional proportions
to shape the
colours, which therefore
subsist in a world of their own making.
The artist employs
a limited canvas
to restrict the
colours, which thus
stand alone.
The
idea behind constructive colour theory
is that it encourages the artist
to understand form in terms of
area,
rather than representational versimilitude.
Such forms, serene and powerful, create disarmingly intenste shivers of emotion.
The artist avoids
a rectangular grid
to define the
colours, which in this way
stand alone.
``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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