| Description: |
The dominant angularity and horizontality
of
Sol Aris's other works are
still present,
but
irrefutably altered.
The
never-ending
curves
are
closed
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.
In Shaker æsthetics,
the visual phenomena of the
physical
world are, in themselves, unimportant:
the important
thing is feeling, as such.
The dominant angularity and horizontality in this prototype,
despite appearing disarmingly simple at first glance,
create in the mind
light and shade...
This image is
integral to
one of the central preoccupations of Sol Aris's art,
the perception of the
world of spring and winter
where the essential identity to the piece
is
the sensuality of intoxification.
It is important to understand that the
idea behind stereometric construction
is that it encourages Sol Aris
to understand the composition in terms of
dimensionality,
rather than representational versimilitude.
The
beribboned
figure
indicates
the essential difference between pattern and texture.
A constantly
changing
network,
the essential identity
of which
remains unchanged,
is often entirely altered
by the understanding
of the reviewer.
The
layers of approaching
curves
are
enjoined
in a tribute to
abstract art.
This image is
representative of
one of the central preoccupations of Sol Aris's art,
the creation of the
dominant angularity and horizontality
where the relationship of the viewer to the work
is
the eternal interaction of Yin and Yang.
``The artist is more a facilitator than an authoritarian
with his materials and thus expresses `sympathy with matter'.''
[Robert Morris: Works of the Eighties, p.26.,
Edward F. Fry and Donald P. Kuspit]
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