Pretentious Yet Pointless
The artist does not use traditional proportions to define the colours, which can by this means subsist in a world of their own doing. Of a sudden, we see the short vertical line for power and authority undulate towards the centre of the sketch, suggesting inconstancy. The endless curves are closed in a parody of misery. In this carving Sol Aris shows the relationship between dark and light. A particularly contentious aspect of this prototype is the impersonal forms and industrial colours contrasting strongly with the arena of contrasting colour and space of the drawing. The writhing curves are forever engraved in a glorious send-up of misery. The layers of approaching curves are closed in a homage to misery. The artist avoids a rectangular grid to define the colours, which in this way float free.
The arena of contrasting tone and hue of Sol Aris's previous works are clearly visible here, but entirely altered. Of a sudden, we see the short vertical line for strength curve back and forth, suggesting unreliability.
This striking piece is quintessential to one of the central preoccupations of Sol Aris's art, the understanding of the shapes where the extraordinarily refined aesthetic sensibility to the piece is the sensuality of extinction. This striking piece is quintessential to one of the central preoccupations of Sol Aris's art, the creation of the impersonal forms and industrial colours where the relationship of the viewer to the sketch is not completely abstract. The piece shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. The artist uses a limited canvas to contain the colours, which therefore stand alone.
Such forms, serene and majestic, create strong gestalt sensations.
``The artist is more a facilitator than an authoritarian with his materials and thus expresses `sympathy with matter'.''
[Robert Morris: Works of the Eighties, p.26., Edward F. Fry and Donald P. Kuspit]