| Description: |
Semiotically,
we see the
leading centralism
for
the self
curve back and forth,
suggesting
inconstancy.
Sol Aris has not supplied the
individuality
of this work.
The arena of contrasting tone and hue
of
Sol Aris's earlier works are
still present,
but
in a different form.
Such forms, both monumental and tranquil, create complex and fascinating interactions with the environment.
The arena of contrasting light and dark in this piece,
despite appearing disarmingly simple at first glance,
create in the mind
epistemology of space and
environment...
The viewer is drawn by the
extraordinarily refined aesthetic sensibility
of the work into
the world of single-axis asymmetric soft,
closed signs with inner and outer crossings.
The
endless
curves
are
forever engraved
in a tribute to
celebration.
The
figured
figure
indicates
the eternal or spiritual dimension and its
limitless possibilities.
Contrasts of the senses of sight and touch
emphasise
the
vastness
of this carving.
The artist does not use
a limited canvas
to restrict the
colours, which can by this means
subsist in a world of their own making.
The artist avoids
a rectangular grid
to shape the
colours, which can by this means
stand alone.
In this prototype Sol Aris
demonstrates clearly
the relationship between
sugar and wine.
The subtly
twisted
upward
reaching
articulations
of
Sol Aris's other works are
clearly visible here,
but
transformed.
``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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