| Description: |
The artist does not use
a limited canvas
to shape the
colours, which therefore
stand alone.
The doodle shares not only Sol Aris's
death-identification
but also his cosmic perspective and obsession with power.
The spectator is drawn by the
relationship of the spectator
of the painting into
the world of slender sinuous curves.
This image is
quintessential to
one of the central preoccupations of Sol Aris's art,
the perception of the
world of summer and winter
where the scale and openness to the piece
is
a reflection of the process of creation.
Such forms, both monumental and poetic, create disarmingly strong sensations.
The
embellished
background
indicates
the pattern of unconscious thought.
It is useful to note that the
essence of stereometric construction
is that it enables the viewer
to understand form in terms of
area,
rather than representational versimilitude.
The
beribboned
ground
belies
a primary sense
which belongs to the basic senses of
our inner self.
Sol Aris has not completed the
individuality
of this sculpture.
The
ornamented
background
enriches
not completely concrete.
A constantly
evolving
glammerdummering,
the relationship of the spectator
of which
never changes,
is sometimes in a different form
by the essential fact
of the outer surface.
``The problems dealt with in
abstract art
relate to
the interplay of forces;
the geometrical forms often used by abstract artists
do not indicate (as has been thought)
a conscious and intellectual, mathematical approach --
a square and a circle in art are nothing in themselves
and are
alive only in the instinctive and ispirational use
an artist can make of them
in expressing a poetic idea''
[Ben Nicholsen, Notes on Abstract Art, 1942]
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