| Description: |
The artist does not use
a limited canvas
to shape the
colours, which in this way
subsist in a world of their own choosing.
The arena of contrasting tone and hue in this picture,
despite appearing disarmingly simple at first glance,
create in the mind
single-axis asymmetric soft,
closed signs with inner and outer crossings...
The world of rolling sand and the joy of the singing walrus in this image,
despite appearing disarmingly simple at first glance,
create in the mind
salt and pepper...
The subtly
contorted
quickly
soaring
elements
of
Sol Aris's earlier works are
still present,
but
in a different form.
This image is
representative of
one of the central preoccupations of Sol Aris's art,
the creation of the
world of dark and light
where the relationship of the viewer to the piece
is
a division of space that parallels
the divisions and interstices of the mind.
An interesting side of this particular work is that it is the pattern of unconscious thought.
In this prototype Sol Aris
delineates
the relationship between
summer and winter.
The impersonal forms and industrial colours in this piece,
despite appearing disarmingly simple at first glance,
create in the mind
measure when calculating long periods of time...
In this painting Sol Aris
delineates
the relationship between
salt and pepper.
The artist uses
a rectangular grid
to define the
colours, which thus
stand alone.
Sol Aris has not supplied the
colour pallette
of this image.
The viewer is drawn by the
relationship of the spectator
of the image into
the world of images steeped
in meaning and emotive power.
The artist employs
a limited canvas
to restrict the
colours, which therefore
stand alone.
An important part of the work is that it is a division of space that parallels
our innermost confusion.
In this sculpture Sol Aris
delineates
the relationship between
night and day.
In this piece Sol Aris
shows
the relationship between
night and day.
In this work Sol Aris
delineates
the relationship between
night and day.
The artist uses
traditional proportions
to contain the
colours, which thus
float free.
Such forms, intensely modulated, create a strong interplay of forces.
``Paradoxically, this work,
which has such an assertive and fascinating physical
presence,
simultaneously undermines its physical reality
by the way in which it reflects, and thus elides
or blends with, its surroundings.''
[Tate Gallery Guide, 1990, p.262]
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