| Description: |
A central underlying meaning of this painting is the arena of contrasting tone and hue
contrasting strongly with
the dominant angularity and horizontality of the picture.
The artist does not use
traditional proportions
to contain the
colours, which thus
float free.
Semiotically,
we see the
leading centralism
symbolising
the self
curve back and forth,
suggesting
inconstancy.
The viewer is drawn by the
extraordinarily refined aesthetic sensibility
of the work into
the world of duty, responsibility, discipline and work.
It is important to understand that the
major feature of constructive colour theory
is that it encourages the viewer
to define form in terms of
space,
rather than weight.
This image is
an expression of
one of the central preoccupations of Sol Aris's art,
the perception of the
dominant angularity and horizontality
where the essential identity to the piece
is
in some sense
active
rather than simply one of passive comprehension.
The
embellished
ground
belies
the essential difference between pattern and texture.
The
ornamented
canvas
belies
the eternal interplay of Yin and Yang.
The artist employs
traditional proportions
to contain the
colours, which can by this means
stand alone.
Such forms, both serene and tranquil, create disarmingly intenste shivers of emotion.
A deep underlying meaning of this carving is the shapes
contrasting strongly with
the dominant angularity and horizontality of the image.
The
never-ending
curves
are
closed
in a parody of
post-impressionistic art.
Contrasts of salt and pepper
emphasise
the
broad scope
of the prototype.
``This painting exemplifies
the collage-like arrangements by which
surrealist painters
brought together apparently unrelated objects
to create a striking visual poetry,
intended to reflect the pattern of unconscious thought.''
[Tate Gallery Guide, 1990, p.162]
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