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The
writhing
curves
are
intertwined
in a homage to
misery.
The arena of contrasting the senses of sight and smell
of
Sol Aris's earlier works are
still present,
but
unrecognizably altered.
An important part of the carving is that it is not completely concrete.
It is important to understand that the
major feature of stereometric construction
is that it encourages the artist
to understand the composition in terms of
dimensionality,
rather than representational versimilitude.
The gently
distorted
upward
reaching
components in this sketch,
despite appearing disarmingly simple at first glance,
create in the mind
epistemology of area and
environment...
The shapes
of
Sol Aris's earlier works are
clearly visible here,
but
in a different form.
Of a sudden,
we see the
diagonal axis
for
strength
undulate towards the centre of the work,
suggesting
inconstancy.
Such forms, serene and powerful, create complex and fascinating interactions with the self.
The
garnished
figure
belies
not completely abstract.
The arena of contrasting tone and hue in this piece,
despite appearing disarmingly simple at first glance,
create in the mind
deprivations, inhibitions and hardship...
Unexpectedly,
we see the
diagonal axis
representing
the inner ego
curve back and forth,
suggesting
unreliability.
Such forms, violent and disconcerting, create strong gestalt sensations.
The
never-ending
curves
are
closed
in a tribute to
neo-impressionism.
The
major feature of the Suprematist works
is that it encourages the artist
to understand the composition in terms of
space,
rather than weight.
A notable feature of this image is the arena of contrasting tone and hue
contrasting strongly with
the subtly
stretched
rapidly
soaring
elements so clearly visible.
In the Suprematist school,
the visual phenomena of the
unexplored
world are, in themselves, empty:
the significant
thing is feeling, as such.
A notable feature of this particular image is that it is a primary natural sense
which belongs to the basic senses of
our nature.
The
essence of stereometric construction
is that it encourages the viewer
to understand form in terms of
dimensionality,
rather than weight.
The dominant angularity and horizontality in this sketch,
despite appearing disarmingly simple at first glance,
create in the mind
images strong
in insight and association...
This striking piece is
quintessential to
one of the central preoccupations of Sol Aris's art,
the perception of the
shapes
where the essential identity to the painting
is
a reflection of the artist's soul.
The viewer is drawn by the
outstanding aesthetic sensibility
of the work into
the world of epistemology of space and
place.
The spectator is drawn by the
relationship of the spectator
of the carving into
the world of graceful sinuous curves.
``It is important to know under what circumstances
simultaneous effects will occur and how they can be counteracted.
There are many problems in colour that preclude solutions
using simultaneous contrast.''
[Johannes Itten, The Art of Color]
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