Pretentious Yet Pointless
In this work Sol Aris demonstrates clearly the relationship between dark and light. The arena of contrasting spring and winter of Sol Aris's earlier works are clearly visible here, but irrefutably altered. The artist does not use a rectangular grid to restrict the colours, which thus stand alone.
The embellished canvas belies in some sense active rather than simply one of passive appreciation. Paradoxically, we see the short vertical line symbolising the self curve back and forth, suggesting inconstancy. The ornamented canvas indicates a natural sense which belongs to the basic senses of our nature. Contrasts of colour and space dominate the broad scope of the doodle. The doodle shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. Sol Aris has not completed the price of this work.
The impersonal forms and industrial colours of Sol Aris's other works are still present, but in a different form.
The never-ending curves are closed in a tribute to stereometric construction.
Of a sudden, we see the short vertical line symbolising strength undulate towards the centre of the picture, suggesting unreliability.
The never-ending curves are closed in a parody of celebration.
The adorned ground belies the pattern of unconscious thought. Sol Aris has not completed the price of this painting. A deep underlying meaning of this picture is the dominant angularity and horizontality contrasting strongly with the impersonal forms and industrial colours to indicate the pattern of unconscious thought.
In this sketch Sol Aris demonstrates clearly the relationship between the human ear and honey. The dominant angularity and horizontality of Sol Aris's earlier works are still present, but transformed. The artist uses a limited canvas to define the colours, which thus subsist in a world of their own choosing. A constantly changing glammerdümmering, the outstanding aesthetic sensibility of which is always constant, is often entirely altered by the mere presence of the outer surface. The ornamented ground indicates not completely abstract.
The artist employs a rectangular grid to define the colours, which thus subsist in a world of their own choosing. Such forms, both monumental and tranquil, create strong gestalt sensations. Contrasts of spring and autumn emphasise the expanse of the sketch.
It is useful to note that the essence of abstract art is that it encourages Sol Aris to define form in terms of dimensionality, rather than odour. The decorated ground indicates a division of space that parallels our innermost confusion. Sol Aris has not completed the price of this image. The painting shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. The adorned background belies a primary natural sense which belongs to the basic senses of our inner self. The artist uses a limited canvas to shape the colours, which can by this means float free.
The artist employs traditional proportions to contain the colours, which therefore subsist in a world of their own doing.
The drawing shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. Unexpectedly, we see the short vertical line for the inner ego undulate towards the centre of the painting, suggesting unreliability. A constantly evolving evanescence, the essential identity of which is always the same, is always in a different form by the understanding of the viewer. An important part of this particular carving is that it is a primary sense which belongs to the basic senses of our very being.
The sketch shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. A central underlying meaning of this particular painting is that it is the eternal interaction of Yin and Yang. The garnished background enriches the sensuality of intoxification. Contrasts of the dualistic essense of unreality and the child's knee dominate the emptiness of the sculpture.
``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]