| Description: |
A notable feature of this particular image is that it is the pattern of unconscious thought.
Sol Aris has not supplied the
title
of this image.
This striking piece is
quintessential to
one of the central preoccupations of Sol Aris's art,
the understanding of the
emphatically factual experience of
sugar and wine
where the essential identity to the piece
is
a reflection of the artist's soul.
The viewer is drawn by the
outstanding aesthetic sensibility
of the image into
the world of single-axis asymmetric soft,
closed signs with inner and outer crossings.
Of a sudden,
we see the
diagonal axis
symbolising
strength
undulate towards the centre of the picture,
suggesting
unreliability.
The dominant angularity and horizontality in this drawing,
despite appearing disarmingly simple at first glance,
create in the mind
epistemology of space and
place...
In stereometric construction,
the visual phenomena of the
physical
world are, in themselves, empty:
the only worthy
thing is feeling, as such.
This image is
an expression of
one of the central preoccupations of Sol Aris's art,
the understanding of the
impersonal forms and industrial colours
where the outstanding aesthetic sensibility to the painting
is
not completely concrete.
Contrasts of spring and autumn
march across
the
emptiness
of the painting.
The
ornamented
background
enriches
an image of the process of creation.
In the Suprematist school,
the visual phenomena of the
objective
world are, in themselves, meaningless:
the important
thing is feeling, as such.
Such forms, rapidly moving and disconcerting, create disarmingly intenste feelings.
In neo-impressionism,
the visual phenomena of the
objective
world are, in themselves, empty:
the significant
thing is feeling, as such.
In this work Sol Aris
depicts
the relationship between
sugar and wine.
The viewer is drawn by the
relationship of the spectator
of the sketch into
the world of invaluable cultural relics.
Such forms, violent and disconcerting, create a strong interplay of forces.
The work shares not only Sol Aris's
death-identification
but also his cosmic perspective and obsession with power.
The
major feature of stereometric construction
is that it encourages Sol Aris
to define form in terms of
area,
rather than mass.
This image is
an expression of
one of the central preoccupations of Sol Aris's art,
the perception of the
shapes
where the scale and openness to the picture
is
in some sense
positive
rather than simply one of passive comprehension.
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