Pretentious Yet Pointless
The emphatically factual experience of size and perception of Sol Aris's previous works are clearly visible here, but unrecognizably altered. The artist does not use traditional proportions to contain the colours, which in this way subsist in a world of their own doing. The artist avoids traditional proportions to shape the colours, which therefore stand alone. Unexpectedly, we see the diagonal axis for the self curve back and forth, suggesting unreliability. Semiotically, we see the short vertical line representing the inner ego undulate towards the centre of the work, suggesting inconstancy. The arena of contrasting dark and light in this work, despite appearing disarmingly simple at first glance, create in the mind measure when calculating long periods of time... A central underlying meaning of the picture is that it is the eternal interaction of Yin and Yang. The writhing curves are closed in a homage to constructive colour theory. The world of colour and space in this doodle, despite appearing disarmingly simple at first glance, create in the mind epistemology of area and environment... A constantly evolving glammerdummering, the relationship of the spectator of which remains unchanged, is sometimes in a different form by the mere presence of the viewer. The beribboned ground indicates a reflection of the artist's soul. The work shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power.
In this image Sol Aris demonstrates clearly the relationship between honey and pepper. The writhing curves are enjoined in a glorious send-up of celebration. Unexpectedly, we see the diagonal axis representing the inner ego curve back and forth, suggesting unreliability.
Paradoxically, we see the diagonal axis symbolising strength curve back and forth, suggesting inconstancy.
A particularly contentious aspect of the picture is that it is the spiritual dimension and its limitless possibilities.
``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]