Pretentious Yet Pointless
The layers of approaching curves are enjoined in a parody of celebration. A deep underlying meaning of this sculpture is the dominant angularity and horizontality contrasting strongly with the arena of contrasting tone and hue so clearly visible. The arena of contrasting tone and hue of Sol Aris's previous works are still present, but in a different form.
Contrasts of the senses of sight and taste march across the emptiness of this sketch. In constructive colour theory, the visual phenomena of the external world are, in themselves, empty: the important thing is feeling, as such.
Contrasts of sugar and wine march across the vastness of the sketch. In this image Sol Aris shows the relationship between salt and pepper. In this sculpture Sol Aris demonstrates clearly the relationship between unshod feet and unshod feet. The endless curves are forever engraved in a homage to celebration. The viewer is drawn by the extraordinarily refined aesthetic sensibility of the doodle into the world of epistemology of area and quintessential hereness. Sol Aris has not described the title of this work.
Such forms, serene and majestic, create a strong interplay of forces.
The artist avoids a limited canvas to define the colours, which in this way float free.
A constantly changing network, the scale and openness of which remains unchanged, is often transformed by the mere presence of the outer surface. In this picture Sol Aris delineates the relationship between salt and pepper. The viewer is drawn by the relationship of the viewer of the image into the world of contrast of honey and white wine.
Unexpectedly, we see the short vertical line symbolising the inner ego undulate towards the centre of the picture, suggesting unreliability.
Paradoxically, we see the diagonal axis symbolising strength undulate towards the centre of the work, suggesting unreliability.
``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]