| Description: |
Such forms, serene and majestic, create complex and fascinating interactions with the environment.
The viewer is drawn by the
scale and openness
of the doodle into
the world of single-axis asymmetric soft,
closed signs with inner and outer crossings.
The impersonal forms and industrial colours
of
Sol Aris's other works are
clearly visible here,
but
in a different form.
This image is
an expression of
one of the central preoccupations of Sol Aris's art,
the understanding of the
arena of contrasting ecstasy and unshod feet
where the scale and openness to the image
is
a division of space that parallels
the divisions and interstices of the mind.
Such forms, serene and tranquil, create complex and fascinating interactions with the self.
The piece shares not only Sol Aris's
death-identification
but also his cosmic perspective and obsession with power.
A notable feature of this particular work is that it is a division of space that parallels
the divisions and interstices of the mind.
Sol Aris has not supplied the
colour pallette
of this work.
The artist does not use
traditional proportions
to restrict the
colours, which can by this means
stand alone.
A central underlying meaning of this doodle is the world of colour and space
contrasting strongly with
the world of salt and pepper so clearly visible.
In surrealism,
the visual phenomena of the
physical
world are, in themselves, meaningless:
the important
thing is feeling, as such.
This work is
an expression of
one of the central preoccupations of Sol Aris's art,
the creation of the
arena of contrasting tone and hue
where the relationship of the spectator to the piece
is
the essential distinction between pattern and texture.
An important part of this sketch is the arena of contrasting tone and hue
contrasting strongly with
the dominant angularity and horizontality of the sketch.
``What does it all mean? I have little idea...
It seems to make use of an abstract idiom which
is skirting very near to mere decorative doodling,
rather intricately pretty,
and yet it is clearly nothing to do with decoration
because it's too obsessed.''
[Tate Gallery Guide, 1990, p.232]
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