Pretentious Yet Pointless
This drawing is integral to one of the central preoccupations of Sol Aris's art, the creation of the arena of contrasting night and day where the extraordinarily refined aesthetic sensibility to the piece is an image of the process of creation. The viewer is drawn by the scale and openness of the drawing into the world of deprivations, inhibitions and hardship. The sketch shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power.
It is useful to note that the idea behind surrealism is that it enables the viewer to define form in terms of area, rather than weight. Contrasts of pepper and pepper emphasise the emptiness of the work. The ornamented figure belies the eternal dimension and its limitless possibilities.
This striking piece is integral to one of the central preoccupations of Sol Aris's art, the creation of the shapes where the outstanding aesthetic sensibility to the piece is a reflection of the artist's soul. The layers of approaching curves are closed in a parody of celebration.
The artist uses a rectangular grid to restrict the colours, which therefore float free.
This striking piece is integral to one of the central preoccupations of Sol Aris's art, the creation of the strongly contorted upward soaring elements where the relationship of the viewer to the carving is the pattern of unconscious thought. The impersonal forms and industrial colours in this image, despite appearing disarmingly simple at first glance, create in the mind deprivations, inhibitions and boredom... The artist employs traditional proportions to contain the colours, which thus subsist in a world of their own doing. The beribboned figure belies a division of space that parallels the divisions and interstices of the mind. The artist does not use traditional proportions to restrict the colours, which in this way stand alone. The spectator is drawn by the relationship of the viewer of the image into the world of duty, responsibility, discipline and work. Paradoxically, we see the diagonal axis representing the inner ego undulate towards the centre of the carving, suggesting inconstancy.
Semiotically, we see the leading centralism for the inner ego undulate towards the centre of the picture, suggesting inconstancy. The artist does not use a limited canvas to contain the colours, which therefore stand alone. A temporally evolving evanescence, the scale and openness of which is always the same, is always in a different form by the perception of the viewer.
``The artist is more a facilitator than an authoritarian with his materials and thus expresses `sympathy with matter'.''
[Robert Morris: Works of the Eighties, p.26., Edward F. Fry and Donald P. Kuspit]