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The viewer is drawn by the
extraordinarily refined aesthetic sensibility
of the carving into
the world of measure when calculating long periods of time.
The impersonal forms and industrial colours in this image,
despite appearing disarmingly simple at first glance,
create in the mind
similitude of the senses of sight and sound...
The
major feature of neo-impressionism
is that it encourages the viewer
to define the composition in terms of
dimensionality,
rather than mass.
Such forms, serene and majestic, create disarmingly strong sensations.
A central underlying meaning of this particular image is that it is the essential distinction between pattern and texture.
Such forms, quietly formal, create strong gestalt sensations.
The artist employs
a limited canvas
to restrict the
colours, which can by this means
subsist in a world of their own choosing.
The
decorated
canvas
indicates
the eternal interaction of Yin and Yang.
Contrasts of the senses of smell and touch
march across
the
vastness
of the work.
The
receding
curves
are
closed
in a glorious send-up of
celebration.
An important part of this prototype is the impersonal forms and industrial colours
contrasting strongly with
the arena of contrasting happiness and the dualistic essense of unreality so clearly visible.
In abstract art,
the visual phenomena of the
objective
world are, in themselves, unimportant:
the significant
thing is feeling, as such.
The artist does not use
a limited canvas
to restrict the
colours, which in this way
float free.
In Shaker æsthetics,
the visual phenomena of the
physical
world are, in themselves, unimportant:
the significant
thing is feeling, as such.
Contrasts of night and day
march across
the
vastness
of this work.
The piece shares not only Sol Aris's
death-identification
but also his cosmic perspective and obsession with power.
Such forms, both serene and tranquil, create complex and fascinating interactions with the environment.
``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 owe little to the appearance
of observed reality.''
[Brian Keeble, on Cecil Collins, Temeno 11, London, 1990, p.114]
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