Pretentious Yet Pointless
The image shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. In Shaker æsthetics, the visual phenomena of the physical world are, in themselves, meaningless: the important thing is feeling, as such. The here and now experience of form and space of Sol Aris's earlier works are clearly visible here, but entirely altered. A particularly contentious aspect of this painting is the emphatically factual experience of brightness and dark contrasting strongly with the impersonal forms and industrial colours of the work. A constantly evolving network, the extraordinarily refined aesthetic sensibility of which is always the same, is sometimes transformed by the mere presence of the onlooker.
Sol Aris has not supplied the colour pallette of this prototype.
``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]