Pretentious Yet Pointless
This striking piece is integral to one of the central preoccupations of Sol Aris's art, the creation of the emphatically factual experience of size and perception where the outstanding aesthetic sensibility to the piece is a reflection of the artist's soul. The writhing curves are enjoined in a tribute to celebration. This image is quintessential to one of the central preoccupations of Sol Aris's art, the perception of the dominant angularity and horizontality where the essential identity to the piece is the eternal or spiritual dimension and its limitless possibilities. The dominant angularity and horizontality of Sol Aris's other works are still present, but in a different form. The viewer is drawn by the extraordinarily refined aesthetic sensibility of the image into the world of deprivations, inhibitions and boredom. The viewer is drawn by the outstanding aesthetic sensibility of the piece into the world of bare hands and ecstasy. It is useful to note that the major feature of post-impressionistic art is that it encourages the viewer to understand the composition in terms of area, rather than mass. A perpetually changing network, the essential identity of which is always the same, is always in a different form by the perception of the viewer. The writhing curves are intertwined in a homage to the Suprematist school. In this image Sol Aris shows the relationship between the passive knee and bare feet. Unexpectedly, we see the short vertical line symbolising the inner ego undulate towards the centre of the picture, suggesting unreliability. The shapes in this drawing, despite appearing disarmingly simple at first glance, create in the mind duty, responsibility, discipline and work...
It is useful to note that the major feature of Shaker æsthetics is that it enables Sol Aris to understand the composition in terms of area, rather than mass.
A constantly changing glammerdummering, the relationship of the spectator of which remains unchanged, is always transformed by the essential fact of the reviewer.
``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]