Pretentious Yet Pointless
A constantly evolving network, the outstanding aesthetic sensibility of which remains unchanged, is sometimes unrecognizably altered by the essential fact of the outer surface. It is important to understand that the idea behind Shaker æsthetics is that it enables the viewer to understand the composition in terms of area, rather than representational versimilitude. Of a sudden, we see the short vertical line representing the inner ego curve back and forth, suggesting unreliability. The essence of stereometric construction is that it enables the viewer to understand the composition in terms of space, rather than mass. In this image Sol Aris depicts the relationship between sugar and wine. This striking piece is representative of one of the central preoccupations of Sol Aris's art, the perception of the arena of contrasting the senses of sight and taste where the relationship of the viewer to the picture is an image of the process of creation. An interesting aspect of this particular work is that it is a reflection of the artist's soul. The emphatically factual experience of night and day of Sol Aris's previous works are clearly visible here, but transformed. This piece is quintessential to one of the central preoccupations of Sol Aris's art, the understanding of the shapes where the relationship of the spectator to the sketch is a division of space that parallels the divisions and interstices of the mind. The decorated figure belies a reflection of the artist's soul.
Contrasts of colour and space dominate the broad scope of this image. In this work Sol Aris demonstrates clearly the relationship between spring and autumn. The embellished canvas enriches the eternal contrast of Yin and Yang. In this image Sol Aris delineates the relationship between dark and light.
The dominant angularity and horizontality in this work, despite appearing disarmingly simple at first glance, create in the mind epistemology of space and place... The shapes of Sol Aris's other works are clearly visible here, but transformed. The embellished canvas belies the sensuality of intoxification.
``What does it all mean? I have little idea... It seems to make use of an abstract idiom which is skirting very near to mere decorative doodling, rather intricately pretty, and yet it is clearly nothing to do with decoration because it's too obsessed.''
[Tate Gallery Guide, 1990, p.232]