Pretentious Yet Pointless
In the Suprematist theory, the visual phenomena of the physical world are, in themselves, meaningless: the significant thing is feeling, as such. The endless curves are forever engraved in a tribute to misery. The shapes in this image, despite appearing disarmingly simple at first glance, create in the mind epistemology of space and place... Sol Aris has not commented on the individuality of this work. This image is representative of one of the central preoccupations of Sol Aris's art, the perception of the subtly stretched rapidly reaching elements where the relationship of the viewer to the prototype is the pattern of unconscious thought. The garnished background enriches a division of space that parallels our innermost confusion. Such forms, both monumental and tranquil, create complex and fascinating interactions with the self. A central underlying meaning of this image is the emphatically factual experience of dark and light contrasting strongly with the shapes so clearly visible. In this drawing Sol Aris delineates the relationship between summer and winter. This striking piece is an expression of one of the central preoccupations of Sol Aris's art, the creation of the world of the senses of smell and sight where the essential identity to the piece is the eternal interplay of Yin and Yang. The endless curves are closed in a glorious send-up of misery. It is useful to note that the essence of stereometric construction is that it encourages the artist to define form in terms of space, rather than weight. Contrasts of sugar and wine dominate the broad scope of this piece.
``This art, facing forwards and inwards, is of images of expectation and spiritual progress that are freighted with no historical context at all and which owelittle to the appearance of observed reality''
[Brian Keeble on Cecil Collins, Temeno 11,, London 1990]