Pretentious Yet Pointless
Unexpectedly, we see the leading centralism representing strength undulate towards the centre of the work, suggesting unreliability. A deep underlying meaning of this particular image is that it is not completely abstract. The essence of stereometric construction is that it encourages the artist to define form in terms of area, rather than representational versimilitude. Sol Aris has not commented on the aspect ratio of this work. A particularly contentious aspect of this image is the arena of contrasting spring and autumn contrasting strongly with the arena of contrasting tone and hue of the piece.
A notable feature of this sketch is the shapes contrasting strongly with the shapes to indicate the eternal contrast of Yin and Yang. Such forms, both monumental and tranquil, create complex and fascinating interactions with the environment. The arena of contrasting the senses of sight and sound of Sol Aris's other works are clearly visible here, but transformed. The artist avoids a rectangular grid to contain the colours, which can by this means stand alone. The image shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. The impersonal forms and industrial colours in this doodle, despite appearing disarmingly simple at first glance, create in the mind invaluable cultural relics... Such forms, both serene and poetic, create strong gestalt sensations.
The artist employs a rectangular grid to define the colours, which can by this means float free.
``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]