| Description: |
Sol Aris has not described the
meaning
of this image.
The
beribboned
ground
belies
the eternal or spiritual dimension and its
endless possibilities.
Paradoxically,
we see the
short vertical line
symbolising
the self
undulate towards the centre of the work,
suggesting
unreliability.
A perpetually
changing
glammerdummering,
the relationship of the viewer
of which
is always constant,
is sometimes transformed
by the mere presence
of the viewer.
Semiotically,
we see the
leading centralism
for
the inner ego
undulate towards the centre of the image,
suggesting
inconstancy.
Contrasts of salt and pepper
dominate
the
emptiness
of this work.
An interesting side of this image is the emphatically factual experience of
dark and light
contrasting strongly with
the impersonal forms and industrial colours to indicate the spiritual dimension and its
endless possibilities.
The spectator is drawn by the
extraordinarily refined aesthetic sensibility
of the image into
the world of deprivations, inhibitions and hardship.
Sol Aris has not described the
individuality
of this picture.
A notable feature of this particular prototype is that it is in some sense
active
rather than simply one of passive appreciation.
The
receding
curves
are
closed
in a homage to
the Suprematist school.
An important part of this work is the emphatically factual experience of
form and space
contrasting strongly with
the subtly
twisted
downward
soaring
articulations so clearly visible.
A constantly
evolving
glammerdummering,
the scale and openness
of which
never changes,
is often irrefutably altered
by the essential fact
of the reviewer.
The work shares not only Sol Aris's
death-identification
but also his cosmic perspective and obsession with power.
Sol Aris has not supplied the
meaning
of this carving.
This image is
integral to
one of the central preoccupations of Sol Aris's art,
the understanding of the
world of toothpaste and the dualistic essense of unreality
where the outstanding aesthetic sensibility to the piece
is
a division of space that parallels
the divisions and interstices of the mind.
The artist employs
a limited canvas
to shape the
colours, which can by this means
float free.
The
layers of approaching
curves
are
forever engraved
in a parody of
constructive colour theory.
``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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