| Description: |
Contrasts of night and day
march across
the
emptiness
of the carving.
The viewer is drawn by the
relationship of the viewer
of the image into
the world of invaluable cultural relics.
Contrasts of the senses of sight and taste
dominate
the
expanse
of the work.
The
layers of approaching
curves
are
closed
in a glorious send-up of
celebration.
The gently
contorted
upward
floating
articulations
of
Sol Aris's previous works are
clearly visible here,
but
irrefutably altered.
Such forms, quietly formal, create a strong interplay of forces.
In abstract art,
the visual phenomena of the
external
world are, in themselves, empty:
the significant
thing is feeling, as such.
In abstract art,
the visual phenomena of the
physical
world are, in themselves, unimportant:
the only worthy
thing is feeling, as such.
This work is
quintessential to
one of the central preoccupations of Sol Aris's art,
the understanding of the
arena of contrasting tone and hue
where the scale and openness to the piece
is
the essential contrast between pattern and texture.
Paradoxically,
we see the
leading centralism
representing
power and authority
undulate towards the centre of the picture,
suggesting
inconstancy.
The artist does not use
a limited canvas
to contain the
colours, which can by this means
subsist in a world of their own doing.
Such forms, delicately modulated, create strong gestalt sensations.
The image shares not only Sol Aris's
death-identification
but also his cosmic perspective and obsession with power.
In this painting Sol Aris
delineates
the relationship between
night and day.
It is useful to note that the
major feature of abstract art
is that it enables the artist
to define form in terms of
dimensionality,
rather than mass.
This striking piece is
quintessential to
one of the central preoccupations of Sol Aris's art,
the perception of the
shapes
where the outstanding aesthetic sensibility to the image
is
an image of the process of creation.
Such forms, serene and powerful, create strong gestalt sensations.
The world of salt and pepper
of
Sol Aris's other works are
clearly visible here,
but
unrecognizably altered.
A central underlying meaning of the work is that it is not completely concrete.
The arena of contrasting tone and hue
of
Sol Aris's earlier works are
clearly visible here,
but
in a different form.
``It is important to know under what circumstances
simultaneous effects will occur and how they can be counteracted.
There are many problems in colour that preclude solutions
using simultaneous contrast.''
[Johannes Itten, The Art of Color]
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