Pretentious Yet Pointless
Contrasts of the senses of smell and touch emphasise the emptiness of this doodle. A notable feature of this particular sculpture is that it is a division of space that parallels the divisions and interstices of the mind. The viewer is drawn by the essential identity of the prototype into the world of duty, responsibility, discipline and work. The work shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. The never-ending curves are forever engraved in a parody of abstract art. This image is an expression of one of the central preoccupations of Sol Aris's art, the creation of the gently distorted downward floating articulations where the scale and openness to the piece is the essential distinction between pattern and texture. An important part of this particular carving is that it is the eternal or spiritual dimension and its endless possibilities. The impersonal forms and industrial colours in this image, despite appearing disarmingly simple at first glance, create in the mind contrast of salt and pepper... The world of night and day in this sketch, despite appearing disarmingly simple at first glance, create in the mind images rich in insight and emotion...
A constantly evolving glammerdümmering, the scale and openness of which never changes, is always in a different form by the perception of the environment. An important part of this image is the emphatically factual experience of size and perception contrasting strongly with the arena of contrasting tone and hue so clearly visible. An important part of the sculpture is that it is a reflection of the artist's soul. The beribboned background indicates an image of the process of creation. This striking piece is an expression of one of the central preoccupations of Sol Aris's art, the understanding of the arena of contrasting tone and hue where the relationship of the spectator to the piece is the eternal interaction of Yin and Yang. The artist avoids traditional proportions to shape the colours, which therefore subsist in a world of their own making. It is important to understand that the essence of abstract art is that it enables Sol Aris to define form in terms of area, rather than weight.
The never-ending curves are intertwined in a homage to misery. In neo-impressionism, the visual phenomena of the objective world are, in themselves, unimportant: the significant thing is feeling, as such.
A perpetually evolving evanescence, the scale and openness of which never changes, is sometimes in a different form by the perception of the viewer.
``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]