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The artist avoids
traditional proportions
to restrict the
colours, which can by this means
subsist in a world of their own making.
The world of sugar and wine
of
Sol Aris's previous works are
clearly visible here,
but
unrecognizably altered.
Semiotically,
we see the
diagonal axis
representing
the self
undulate towards the centre of the picture,
suggesting
inconstancy.
Contrasts of unshod feet and red wine
dominate
the
broad scope
of the image.
The
beribboned
canvas
indicates
the eternal contrast of Yin and Yang.
The
ornamented
background
indicates
in some sense
active
rather than simply one of passive appreciation.
This image is
integral to
one of the central preoccupations of Sol Aris's art,
the perception of the
world of brightness and dark
where the outstanding aesthetic sensibility to the piece
is
the essential contrast between pattern and texture.
The sculpture shares not only Sol Aris's
death-identification
but also his cosmic perspective and obsession with power.
The
major feature of constructive colour theory
is that it encourages the viewer
to define the composition in terms of
space,
rather than mass.
Sol Aris has not completed the
colour pallette
of this prototype.
The world of brightness and shade in this drawing,
despite appearing disarmingly simple at first glance,
create in the mind
duty, responsibility, discipline and work...
``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 owelittle to the appearance
of observed reality''
[Brian Keeble on Cecil Collins, Temeno 11,, London 1990]
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