Pretentious Yet Pointless
The artist does not use a limited canvas to restrict the colours, which therefore stand alone. The ornamented canvas indicates the essential distinction between pattern and texture.
Such forms, quietly formal, create strong gestalt sensations. Such forms, rapidly moving and disconcerting, create a strong interaction of forces. An interesting aspect of the picture is that it is the pattern of unconscious thought. The world of spring and autumn in this piece, despite appearing disarmingly simple at first glance, create in the mind deprivations, inhibitions and boredom... The never-ending curves are enjoined in a glorious send-up of misery. A particularly contentious aspect of this particular sculpture is that it is a reflection of the artist's soul.
The receding curves are closed in a tribute to misery. The arena of contrasting night and day in this drawing, despite appearing disarmingly simple at first glance, create in the mind invaluable cultural icons...
The prototype shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. In this sculpture Sol Aris demonstrates clearly the relationship between dark and light. Contrasts of unshod feet and sugar march across the expanse of the work.
In this carving Sol Aris delineates the relationship between sugar and wine.
The piece shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. Contrasts of sugar and wine dominate the expanse of this prototype.
The spectator is drawn by the extraordinarily refined aesthetic sensibility of the drawing into the world of measure when calculating long periods of time.
The sketch shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. Semiotically, we see the short vertical line symbolising the inner ego curve back and forth, suggesting inconstancy. A temporally changing glammerdummering, the relationship of the viewer of which is always the same, is often in a different form by the mere presence of the outer surface. The layers of approaching curves are intertwined in a glorious send-up of stereometric construction.
A deep underlying meaning of the image is that it is the sensuality of extinction. In constructive colour theory, the visual phenomena of the unexplored world are, in themselves, unimportant: the important thing is feeling, as such.
``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]