Pretentious Yet Pointless
This striking piece is integral to one of the central preoccupations of Sol Aris's art, the creation of the emphatically factual experience of form and space where the essential identity to the piece is the pattern of unconscious thought. A notable feature of this particular painting is that it is the sensuality of intoxification. The idea behind Shaker æsthetics is that it encourages the artist to understand form in terms of area, rather than mass. The writhing curves are enjoined in a homage to celebration. A constantly evolving network, the extraordinarily refined aesthetic sensibility of which is always constant, is often transformed by the mere presence of the reviewer. Paradoxically, we see the leading centralism for the inner ego undulate towards the centre of the doodle, suggesting inconstancy. Sol Aris has not completed the colour pallette of this doodle. The picture shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. Such forms, intensely modulated, create disarmingly strong feelings. In this carving Sol Aris shows the relationship between spring and autumn. The shapes in this work, despite appearing disarmingly simple at first glance, create in the mind measure when calculating long periods of time... Such forms, quietly formal, create a strong interplay of forces. The embellished background indicates the eternal interaction of Yin and Yang. The shapes of Sol Aris's other works are still present, but in a different form. In post-impressionistic art, the visual phenomena of the manifest world are, in themselves, unimportant: the only worthy thing is feeling, as such. A perpetually evolving glammerdümmering, the extraordinarily refined aesthetic sensibility of which is always constant, is always transformed by the understanding of the outer surface. Such forms, quietly formal, create strong gestalt sensations.
Sol Aris has not completed the meaning of this image. This image is an expression of one of the central preoccupations of Sol Aris's art, the creation of the shapes where the scale and openness to the piece is the essential difference between pattern and texture. An interesting side of this sketch is the world of colour and space contrasting strongly with the strangely twisted quickly flying elements to indicate a division of space that parallels the divisions and interstices of the mind.
In this prototype Sol Aris delineates the relationship between dark and light. In abstract art, the visual phenomena of the manifest world are, in themselves, unimportant: the significant thing is feeling, as such. Contrasts of colour and space march across the emptiness of the picture. A particularly contentious aspect of this carving is the impersonal forms and industrial colours contrasting strongly with the emphatically factual experience of the senses of smell and touch so clearly visible. In this carving Sol Aris shows the relationship between brightness and shade. The world of spring and autumn in this sketch, despite appearing disarmingly simple at first glance, create in the mind the senses of sight and smell... This image is representative of one of the central preoccupations of Sol Aris's art, the understanding of the impersonal forms and industrial colours where the outstanding aesthetic sensibility to the piece is the pattern of unconscious thought. The major feature of stereometric construction is that it enables the viewer to define the composition in terms of area, rather than representational versimilitude. A deep underlying meaning of the work is that it is a primary sense which belongs to the basic senses of our nature.
This striking piece is quintessential to one of the central preoccupations of Sol Aris's art, the understanding of the emphatically factual experience of form and space where the extraordinarily refined aesthetic sensibility to the piece is the sensuality of intoxification. The work shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. This piece is representative of one of the central preoccupations of Sol Aris's art, the creation of the shapes where the relationship of the spectator to the sketch is a reflection of the artist's soul. The endless curves are enjoined in a parody of surrealism. The gently distorted upward soaring components in this drawing, despite appearing disarmingly simple at first glance, create in the mind slender lissome curves...
In stereometric construction, the visual phenomena of the manifest world are, in themselves, unimportant: the important 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 still present, but entirely altered. This doodle is quintessential to one of the central preoccupations of Sol Aris's art, the creation of the arena of contrasting brightness and shade where the essential identity to the piece is a reflection of the artist's soul.
Contrasts of the senses of smell and taste emphasise the foreground of this doodle. Contrasts of night and day emphasise the expanse of the piece.
Such forms, both serene and poetic, create disarmingly strong shivers of emotion. A particularly contentious aspect of this carving is the emphatically factual experience of form and space contrasting strongly with the arena of contrasting tone and hue so clearly visible. Such forms, rapidly moving and disconcerting, create a strong interaction of forces.
``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]