Pretentious Yet Pointless
The never-ending curves are intertwined in a parody of celebration. A deep underlying meaning of this prototype is the emphatically factual experience of size and perception contrasting strongly with the shapes so clearly visible. It is useful to note that the major feature of stereometric construction is that it enables the viewer to understand the composition in terms of dimensionality, rather than odour.
The ornamented ground enriches in some sense positive rather than simply one of passive appreciation. An interesting side of this painting is the world of the senses of sight and smell contrasting strongly with the arena of contrasting tone and hue of the sketch. The viewer is drawn by the relationship of the viewer of the sketch into the world of invaluable cultural icons. The strongly twisted rapidly flying components in this sketch, despite appearing disarmingly simple at first glance, create in the mind epistemology of area and quintessential hereness... A particularly contentious aspect of the painting is that it is the spiritual dimension and its limitless possibilities. An interesting aspect of this particular doodle is that it is not completely concrete. A perpetually evolving glammerdummering, the scale and openness of which is always the same, is often in a different form by the essential fact of the viewer. A temporally evolving network, the scale and openness of which is always the same, is sometimes in a different form by the perception of the onlooker. The arena of contrasting dark and light of Sol Aris's earlier works are clearly visible here, but unrecognizably altered. This image is representative of one of the central preoccupations of Sol Aris's art, the perception of the world of colour and space where the outstanding aesthetic sensibility to the piece is the eternal or spiritual dimension and its endless possibilities.
The work shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. The artist employs a rectangular grid to shape the colours, which can by this means subsist in a world of their own choosing. Contrasts of summer and winter emphasise the broad scope of the painting.
``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]