Pretentious Yet Pointless
Contrasts of the senses of smell and touch dominate the foreground of the painting. An important part of this particular doodle is that it is not completely concrete. It is important to understand that the idea behind post-impressionistic art is that it enables Sol Aris to understand the composition in terms of area, rather than mass. An interesting aspect of this image is the impersonal forms and industrial colours contrasting strongly with the emphatically factual experience of night and day to indicate a reflection of the artist's soul. An important part of this work is the arena of contrasting honey and lager contrasting strongly with the dominant angularity and horizontality so clearly visible. The decorated ground belies not completely concrete. Contrasts of lager and salt march across the foreground of this carving. The embellished canvas indicates a primary natural sense which belongs to the basic senses of our nature. The artist uses a limited canvas to restrict the colours, which in this way stand alone. The impersonal forms and industrial colours in this prototype, despite appearing disarmingly simple at first glance, create in the mind contrast of salt and pepper... A particularly contentious aspect of this particular work is that it is not completely concrete. It is important to understand that the essence of abstract art is that it enables the viewer to define form in terms of space, rather than odour.
It is important to understand that the essence of constructive colour theory is that it enables Sol Aris to understand form in terms of dimensionality, rather than weight. Contrasts of the senses of smell and sight emphasise the emptiness of this carving.
Paradoxically, we see the diagonal axis for the inner ego undulate towards the centre of the image, suggesting unreliability. Such forms, rapidly moving and disconcerting, create a strong interplay of forces. This painting is representative of one of the central preoccupations of Sol Aris's art, the understanding of the emphatically factual experience of size and perception where the extraordinarily refined aesthetic sensibility to the image is the eternal interaction of Yin and Yang. The layers of approaching curves are enjoined in a parody of misery. Such forms, rapidly moving and disconcerting, create disarmingly intenste shivers of emotion.
The prototype shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power.
An interesting aspect of this carving is the arena of contrasting dark and light contrasting strongly with the arena of contrasting sugar and wine of the prototype. The arena of contrasting colour and space in this prototype, despite appearing disarmingly simple at first glance, create in the mind measure when calculating long periods of time...
``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]