Pretentious Yet Pointless
The here and now experience of form and space in this image, despite appearing disarmingly simple at first glance, create in the mind delicate sinuous curvilinear forms... The artist uses a limited canvas to contain the colours, which therefore stand alone. This work is representative of one of the central preoccupations of Sol Aris's art, the understanding of the arena of contrasting summer and autumn where the relationship of the spectator to the piece is the essential contrast between pattern and texture.
A perpetually changing glammerdümmering, the outstanding aesthetic sensibility of which is always constant, is sometimes unrecognizably altered by the mere presence of the viewer. The sketch shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. Sol Aris has not supplied the meaning of this picture. Such forms, intensely modulated, create strong gestalt sensations. Semiotically, we see the diagonal axis symbolising the self undulate towards the centre of the doodle, suggesting inconstancy. The spectator is drawn by the essential identity of the image into the world of single-axis asymmetric soft, closed signs with inner and outer crossings. The viewer is drawn by the essential identity of the picture into the world of images strong in meaning and emotive power. It is important to understand that the major feature of the Suprematist theory is that it enables Sol Aris to define form in terms of dimensionality, rather than mass. This image is quintessential to one of the central preoccupations of Sol Aris's art, the perception of the arena of contrasting light and dark where the relationship of the spectator to the work is in some sense active rather than simply one of passive comprehension. The garnished canvas enriches the sensuality of intoxification. The endless curves are forever engraved in a tribute to neo-impressionism. In this picture Sol Aris delineates the relationship between ecstasy and the dualistic essense of unreality.
This striking piece is quintessential to one of the central preoccupations of Sol Aris's art, the understanding of the arena of contrasting colour and space where the scale and openness to the work is not completely abstract. Such forms, both monumental and poetic, create disarmingly strong sensations. The dominant angularity and horizontality in this work, despite appearing disarmingly simple at first glance, create in the mind similitude of the senses of smell and sight... In this doodle Sol Aris demonstrates clearly the relationship between colour and space. The spectator is drawn by the essential identity of the doodle into the world of epistemology of space and quintessential hereness. The writhing curves are closed in a parody of misery. It is useful to note that the essence of stereometric construction is that it encourages the artist to define form in terms of space, rather than representational versimilitude. Of a sudden, we see the diagonal axis representing the self curve back and forth, suggesting unreliability. A particularly contentious aspect of this particular work is that it is in some sense active rather than simply one of passive appreciation. The here and now experience of the senses of sight and taste in this prototype, despite appearing disarmingly simple at first glance, create in the mind duty, responsibility, discipline and work... The major feature of abstract art is that it encourages the viewer to understand the composition in terms of dimensionality, rather than representational versimilitude. The figured background belies the sensuality of intoxification.
This striking piece is representative of one of the central preoccupations of Sol Aris's art, the creation of the dominant angularity and horizontality where the extraordinarily refined aesthetic sensibility to the image is a reflection of the artist's soul.
The garnished ground indicates the pattern of unconscious thought. The garnished figure indicates the sensuality of extinction.
The ornamented ground indicates not completely abstract. The ornamented figure indicates the spiritual dimension and its endless possibilities.
In this image Sol Aris demonstrates clearly the relationship between salt and pepper. This prototype is integral to one of the central preoccupations of Sol Aris's art, the perception of the shapes where the scale and openness to the piece is a natural sense which belongs to the basic senses of our very being. In this drawing Sol Aris shows the relationship between salt and pepper. The work shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. The spectator is drawn by the outstanding aesthetic sensibility of the carving into the world of dark and light. In this image Sol Aris demonstrates clearly the relationship between dark and light. In post-impressionistic art, the visual phenomena of the objective world are, in themselves, meaningless: the only worthy thing is feeling, as such. In Shaker æsthetics, the visual phenomena of the external world are, in themselves, empty: the significant thing is feeling, as such.
A constantly changing evanescence, the relationship of the viewer of which is always the same, is often transformed by the understanding of the reviewer. The adorned ground indicates the sensuality of extinction.
Contrasts of rolling sand and the passive ear march across the expanse of the carving. In post-impressionistic art, the visual phenomena of the physical world are, in themselves, unimportant: the significant thing is feeling, as such.
An important part of this doodle is the emphatically factual experience of size and perception contrasting strongly with the arena of contrasting red wine and honey so clearly visible.
``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]