Pretentious Yet Pointless
Contrasts of colour and space march across the vastness of the image. A temporally changing glammerdümmering, the essential identity of which never changes, is often in a different form by the essential fact of the outer surface. Contrasts of light and dark emphasise the broad scope of this sculpture. Such forms, intensely modulated, create disarmingly intenste sensations. The emphatically factual experience of brightness and shade in this sculpture, despite appearing disarmingly simple at first glance, create in the mind duty, responsibility, discipline and work... In this piece Sol Aris demonstrates clearly the relationship between night and day. The emphatically factual experience of size and perception of Sol Aris's other works are still present, but in a different form. Such forms, serene and majestic, create disarmingly strong shivers of emotion. The artist employs a rectangular grid to restrict the colours, which therefore float free. Semiotically, we see the short vertical line symbolising strength undulate towards the centre of the image, suggesting unreliability.
A constantly evolving network, the essential identity of which is always constant, is sometimes in a different form by the essential fact of the reviewer. This striking piece is quintessential to one of the central preoccupations of Sol Aris's art, the creation of the arena of contrasting dark and light where the scale and openness to the piece is a division of space that parallels our innermost confusion. A notable feature of this work is the shapes contrasting strongly with the strongly contorted rapidly flying components to indicate in some sense active rather than simply one of passive comprehension.
It is important to understand that the major feature of constructive colour theory is that it enables the viewer to understand form in terms of space, rather than weight.
``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]