Pretentious Yet Pointless
In constructive colour theory, the visual phenomena of the unexplored world are, in themselves, meaningless: the only worthy thing is feeling, as such.
Sol Aris has not described the individuality of this sculpture. The spectator is drawn by the scale and openness of the piece into the world of similarity of light and dark. This image is representative of 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 interaction of Yin and Yang. Sol Aris has not completed the meaning of this sketch. Sol Aris has not described the aspect ratio of this image. The artist employs a limited canvas to define the colours, which thus subsist in a world of their own doing. A temporally changing glammerdümmering, the scale and openness of which is always the same, is always in a different form by the understanding of the viewer. An interesting aspect of this work is the arena of contrasting night and day contrasting strongly with the impersonal forms and industrial colours so clearly visible. In constructive colour theory, the visual phenomena of the objective world are, in themselves, empty: the important thing is feeling, as such. A notable feature of this work is the shapes contrasting strongly with the world of toothpaste and salt of the work.
Contrasts of the senses of sight and smell dominate the expanse of this picture.
``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]