Pretentious Yet Pointless
The never-ending curves are enjoined in a homage to stereometric construction. An important part of the drawing is that it is the eternal or spiritual dimension and its limitless possibilities. A particularly contentious aspect of this particular doodle is that it is a division of space that parallels the divisions and interstices of the mind. Such forms, quietly formal, create complex and fascinating interactions with the self. The viewer is drawn by the relationship of the viewer of the work into the world of epistemology of space and place. The embellished figure belies the spiritual dimension and its endless possibilities. The figured figure enriches a division of space that parallels our innermost confusion. This image is an expression of one of the central preoccupations of Sol Aris's art, the understanding of the arena of contrasting tone and hue where the outstanding aesthetic sensibility to the piece is a natural sense which belongs to the basic senses of our psychology. Such forms, intensely variegated, create strong gestalt sensations. This image is integral to one of the central preoccupations of Sol Aris's art, the creation of the dominant angularity and horizontality where the scale and openness to the sketch is the sensuality of intoxification. In Shaker æsthetics, the visual phenomena of the external world are, in themselves, empty: the only worthy thing is feeling, as such. The prototype shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power.
The shapes of Sol Aris's previous works are clearly visible here, but transformed.
``The problems dealt with in abstract art relate to the interplay of forces; the geometrical forms often used by abstract artists do not indicate (as has been thought) a conscious and intellectual, mathematical approach -- a square and a circle in art are nothing in themselves and are alive only in the instinctive and ispirational use an artist can make of them in expressing a poetic idea''
[Ben Nicholsen, Notes on Abstract Art, 1942]