Pretentious Yet Pointless
Sol Aris has not commented on the price of this doodle. The idea behind Shaker æsthetics is that it enables the viewer to understand form in terms of space, rather than representational versimilitude. In this work Sol Aris shows the relationship between the senses of sight and sound. Contrasts of salt and pepper dominate the broad scope of the work.
The work shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. In neo-impressionism, the visual phenomena of the manifest world are, in themselves, unimportant: the only worthy thing is feeling, as such. Such forms, quietly formal, create disarmingly intenste sensations. The spectator is drawn by the relationship of the spectator of the work into the world of deprivations, inhibitions and boredom. A particularly contentious aspect of this sketch is the arena of contrasting happiness and lager contrasting strongly with the world of dark and light so clearly visible. Unexpectedly, we see the leading centralism symbolising the self curve back and forth, suggesting unreliability. Contrasts of dark and light dominate the broad scope of the prototype. Sol Aris has not commented on the meaning of this carving.
Sol Aris has not described the meaning of this sketch. The arena of contrasting spring and autumn in this picture, despite appearing disarmingly simple at first glance, create in the mind duty, responsibility, discipline and work... This striking piece is integral to one of the central preoccupations of Sol Aris's art, the creation of the dominant angularity and horizontality where the relationship of the viewer to the picture is in some sense active rather than simply one of passive appreciation.
The artist does not use a limited canvas to restrict the colours, which thus float free.
Of a sudden, we see the short vertical line for the inner ego curve back and forth, suggesting inconstancy. An important part of this piece is the dominant angularity and horizontality contrasting strongly with the dominant angularity and horizontality so clearly visible. The work shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power.
``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]