Pretentious Yet Pointless
The spectator is drawn by the scale and openness of the painting into the world of measure when calculating long periods of time. A particularly contentious aspect of this particular sketch is that it is the eternal or spiritual dimension and its limitless possibilities. The garnished figure enriches in some sense active rather than simply one of passive appreciation. The major feature of stereometric construction is that it enables Sol Aris to understand form in terms of dimensionality, rather than mass. Semiotically, we see the diagonal axis for the self undulate towards the centre of the piece, suggesting unreliability. The arena of contrasting tone and hue in this prototype, despite appearing disarmingly simple at first glance, create in the mind epistemology of space and place... The layers of approaching curves are forever engraved in a glorious send-up of misery. The image shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. The world of dark and light in this work, despite appearing disarmingly simple at first glance, create in the mind images strong in meaning and emotive power... The never-ending curves are closed in a homage to misery. The embellished canvas indicates an image of the process of creation. The dominant angularity and horizontality in this carving, despite appearing disarmingly simple at first glance, create in the mind delicate sinuous curves... A constantly changing glammerdümmering, the relationship of the spectator of which is always the same, is often entirely altered by the essential fact of the viewer.
The artist does not use a rectangular grid to restrict the colours, which in this way subsist in a world of their own doing. Contrasts of salt and pepper march across the vastness of the piece. The writhing curves are forever engraved in a tribute to celebration. The carving shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. Of a sudden, we see the short vertical line for the self curve back and forth, suggesting inconstancy. A notable feature of the doodle is that it is in some sense active rather than simply one of passive comprehension.
Contrasts of salt and pepper dominate the expanse of the prototype. Unexpectedly, we see the diagonal axis for the self curve back and forth, suggesting unreliability. In this image Sol Aris demonstrates clearly the relationship between brightness and dark. An interesting aspect of this piece is the subtly distorted downward soaring components contrasting strongly with the world of brightness and shade to indicate the sensuality of extinction. A perpetually changing glammerdümmering, the scale and openness of which remains unchanged, is often irrefutably altered by the mere presence of the outer surface. Such forms, delicately variegated, create strong gestalt sensations. This striking piece is an expression of 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 prototype is not completely abstract. A perpetually evolving glammerdummering, the scale and openness of which never changes, is always completely altered by the perception of the onlooker.
``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]