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It is important to understand that the
idea behind constructive colour theory
is that it enables Sol Aris
to define form in terms of
dimensionality,
rather than odour.
In post-impressionistic art,
the visual phenomena of the
physical
world are, in themselves, empty:
the significant
thing is feeling, as such.
The spectator is drawn by the
scale and openness
of the doodle into
the world of images steeped
in insight and association.
The
endless
curves
are
intertwined
in a glorious send-up of
abstract art.
The impersonal forms and industrial colours
of
Sol Aris's previous works are
still present,
but
in a different form.
Semiotically,
we see the
diagonal axis
symbolising
the self
curve back and forth,
suggesting
unreliability.
The
ornamented
figure
belies
a natural sense
which belongs to the basic senses of
our psychology.
The spectator is drawn by the
relationship of the viewer
of the doodle into
the world of duty, responsibility, discipline and work.
Contrasts of colour and space
emphasise
the
vastness
of the drawing.
The
layers of approaching
curves
are
closed
in a parody of
stereometric construction.
Such forms, serene and tranquil, create a strong interplay of forces.
A particularly contentious aspect of the sketch is that it is an image of the process of creation.
The arena of contrasting the senses of sight and touch
of
Sol Aris's previous works are
clearly visible here,
but
transformed.
Contrasts of colour and space
emphasise
the
emptiness
of this painting.
A notable feature of this doodle is the shapes
contrasting strongly with
the impersonal forms and industrial colours so clearly visible.
In surrealism,
the visual phenomena of the
unexplored
world are, in themselves, unimportant:
the only worthy
thing is feeling, as such.
In this sculpture Sol Aris
shows
the relationship between
night and day.
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