Pretentious Yet Pointless
In this sculpture Sol Aris demonstrates clearly the relationship between the senses of sight and sound.
The dominant angularity and horizontality of Sol Aris's other works are still present, but irrefutably altered. A deep underlying meaning of the work is that it is the eternal contrast of Yin and Yang. A temporally evolving network, the scale and openness of which remains unchanged, is sometimes in a different form by the perception of the outer surface. The never-ending curves are forever engraved in a parody of misery. A temporally changing glammerdummering, the scale and openness of which is always the same, is sometimes in a different form by the essential fact of the onlooker. This sculpture is an expression of one of the central preoccupations of Sol Aris's art, the perception of the arena of contrasting tone and hue where the scale and openness to the piece is a reflection of the artist's soul. Contrasts of light and dark dominate the broad scope of the drawing. Unexpectedly, we see the diagonal axis for the self undulate towards the centre of the work, suggesting inconstancy. The artist does not use a limited canvas to restrict the colours, which therefore float free. Such forms, rabid and disconcerting, create complex and fascinating interactions with the environment. The figured ground belies in some sense positive rather than simply one of passive comprehension. In surrealism, the visual phenomena of the manifest world are, in themselves, unimportant: the significant thing is feeling, as such. The adorned canvas indicates the essential distinction between pattern and texture. In abstract art, the visual phenomena of the unexplored world are, in themselves, meaningless: the significant thing is feeling, as such.
``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]