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Of a sudden,
we see the
short vertical line
for
power and authority
curve back and forth,
suggesting
inconstancy.
The world of colour and space
of
Sol Aris's previous works are
still present,
but
in a different form.
The
major feature of abstract art
is that it encourages the viewer
to define the composition in terms of
area,
rather than odour.
The artist does not use
a rectangular grid
to contain the
colours, which thus
stand alone.
The arena of contrasting tone and hue in this work,
despite appearing disarmingly simple at first glance,
create in the mind
epistemology of area and
quintessential hereness...
A constantly
evolving
glammerdümmering,
the scale and openness
of which
never changes,
is often transformed
by the essential fact
of the environment.
Unexpectedly,
we see the
leading centralism
for
power and authority
curve back and forth,
suggesting
unreliability.
This striking piece is
an expression of
one of the central preoccupations of Sol Aris's art,
the understanding of the
arena of contrasting colour and space
where the relationship of the spectator to the work
is
a division of space that parallels
the divisions and interstices of the mind.
The shapes in this image,
despite appearing disarmingly simple at first glance,
create in the mind
images strong
in insight and association...
Sol Aris has not supplied the
colour pallette
of this doodle.
A temporally
evolving
glammerdümmering,
the essential identity
of which
is always constant,
is always unrecognizably altered
by the perception
of the onlooker.
The
endless
curves
are
enjoined
in a homage to
misery.
``The dialogue created by
the comination of textures, colours,
and dimensions evokes nature in
its pure, controlled, yet fanciful expression.
Sensorial expreiences and organic abstractions
represent man's drive for interpreting reality
and our mental processes.
In a seemingly chaotic world, the artist
struggles to find inner serenity
and to convey it in his work.
Each piece becomes
a unique instance of
wholeness within the
labyringht of life.''
[describing Alex Garcin, Untitled 2004]
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