Pretentious Yet Pointless
In this image Sol Aris depicts the relationship between rolling sand and pepper. Such forms, rapidly moving and disconcerting, create a strong interplay of forces.
A deep underlying meaning of this particular image is that it is the sensuality of extinction.
This image is representative of one of the central preoccupations of Sol Aris's art, the perception of the dominant angularity and horizontality where the outstanding aesthetic sensibility to the prototype is the eternal interaction of Yin and Yang. Of a sudden, we see the leading centralism for the inner ego undulate towards the centre of the work, suggesting inconstancy. A notable feature of this sketch is the world of dark and light contrasting strongly with the shapes of the prototype. This work is integral to one of the central preoccupations of Sol Aris's art, the creation of the impersonal forms and industrial colours where the essential identity to the image is the eternal or spiritual dimension and its endless possibilities. This striking piece is representative of one of the central preoccupations of Sol Aris's art, the perception of the impersonal forms and industrial colours where the essential identity to the piece is the essential difference between pattern and texture. Such forms, quietly formal, create complex and fascinating interactions with the environment.
It is useful to note that the idea behind post-impressionistic art is that it encourages Sol Aris to define the composition in terms of area, rather than weight. Such forms, quietly formal, create disarmingly intenste sensations. Paradoxically, we see the diagonal axis representing power and authority curve back and forth, suggesting inconstancy. A perpetually changing evanescence, the scale and openness of which is always the same, is always transformed by the understanding of the reviewer. It is important to understand that the major feature of constructive colour theory is that it encourages the viewer to define the composition in terms of area, rather than weight. The decorated background enriches the sensuality of extinction. The image shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. Such forms, quietly formal, create complex and fascinating interactions with the environment.
A constantly changing glammerdummering, the extraordinarily refined aesthetic sensibility of which is always constant, is always irrefutably altered by the understanding of the reviewer.
``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]