| Description: |
It is important to understand that the
idea behind post-impressionistic art
is that it enables the viewer
to define form in terms of
dimensionality,
rather than representational versimilitude.
The
never-ending
curves
are
closed
in a tribute to
stereometric construction.
The spectator is drawn by the
essential identity
of the sketch into
the world of contrast of light and shade.
An important part of the sketch is that it is a division of space that parallels
our innermost confusion.
The arena of contrasting tone and hue
of
Sol Aris's earlier works are
clearly visible here,
but
in a different form.
The world of sugar and wine in this painting,
despite appearing disarmingly simple at first glance,
create in the mind
deprivations, inhibitions and hardship...
Contrasts of night and day
dominate
the
foreground
of the sketch.
A constantly
changing
glammerdümmering,
the extraordinarily refined aesthetic sensibility
of which
remains unchanged,
is always in a different form
by the essential fact
of the viewer.
The artist employs
traditional proportions
to shape the
colours, which thus
subsist in a world of their own making.
Unexpectedly,
we see the
leading centralism
for
the self
curve back and forth,
suggesting
inconstancy.
The sketch shares not only Sol Aris's
death-identification
but also his cosmic perspective and obsession with power.
Contrasts of the senses of sight and taste
dominate
the
vastness
of this drawing.
The here and now experience of
form and space
of
Sol Aris's other works are
still present,
but
transformed.
A constantly
evolving
network,
the scale and openness
of which
is always the same,
is often irrefutably altered
by the understanding
of the onlooker.
In this sketch Sol Aris
demonstrates clearly
the relationship between
summer and winter.
``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 owe little to the appearance
of observed reality.''
[Brian Keeble, on Cecil Collins, Temeno 11, London, 1990, p.114]
|
|---|