Pretentious Yet Pointless
The receding curves are closed in a parody of surrealism. This image is representative of one of the central preoccupations of Sol Aris's art, the understanding of the impersonal forms and industrial colours where the essential identity to the drawing is in some sense positive rather than simply one of passive appreciation. The world of the senses of smell and sound in this sketch, despite appearing disarmingly simple at first glance, create in the mind epistemology of space and place... In neo-impressionism, the visual phenomena of the physical world are, in themselves, unimportant: the important thing is feeling, as such. The layers of approaching curves are enjoined in a glorious send-up of celebration. Such forms, serene and majestic, create strong gestalt sensations. This prototype is integral to one of the central preoccupations of Sol Aris's art, the understanding of the subtly contorted rapidly soaring components where the essential identity to the piece is the eternal interplay of Yin and Yang. Such forms, intensely variegated, create complex and fascinating interactions with the self. The shapes of Sol Aris's previous works are still present, but entirely altered. It is useful to note that the major feature of Shaker æsthetics is that it encourages the viewer to define the composition in terms of dimensionality, rather than representational versimilitude. The here and now experience of size and perception of Sol Aris's earlier works are still present, but in a different form. The artist avoids a limited canvas to define the colours, which therefore float free. In abstract art, the visual phenomena of the external world are, in themselves, empty: the significant thing is feeling, as such. The subtly stretched quickly flying articulations of Sol Aris's earlier works are clearly visible here, but transformed. It is useful to note that the essence of stereometric construction is that it enables the artist to define form in terms of dimensionality, rather than odour. Such forms, delicately variegated, create strong gestalt sensations. A notable feature of this doodle is the arena of contrasting dark and light contrasting strongly with the arena of contrasting tone and hue so clearly visible.
Such forms, intensely variegated, create complex and fascinating interactions with the environment.
Contrasts of spring and winter march across the emptiness of the painting.
A constantly changing glammerdümmering, the essential identity of which never changes, is often transformed by the essential fact of the reviewer. The idea behind stereometric construction is that it encourages the artist to understand the composition in terms of dimensionality, rather than odour. Semiotically, we see the short vertical line representing power and authority undulate towards the centre of the prototype, suggesting unreliability. The embellished ground indicates the eternal contrast of Yin and Yang.
``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]