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A deep underlying meaning of the picture is that it is a primary sense
which belongs to the basic senses of
our very being.
The
writhing
curves
are
forever engraved
in a homage to
celebration.
The shapes
of
Sol Aris's earlier works are
clearly visible here,
but
transformed.
This prototype is
integral to
one of the central preoccupations of Sol Aris's art,
the perception of the
shapes
where the scale and openness to the piece
is
in some sense
positive
rather than simply one of passive appreciation.
The
garnished
background
enriches
in some sense
positive
rather than simply one of passive appreciation.
The artist uses
traditional proportions
to shape the
colours, which in this way
stand alone.
The
writhing
curves
are
intertwined
in a homage to
the Suprematist vision.
The artist uses
traditional proportions
to shape the
colours, which thus
stand alone.
The spectator is drawn by the
scale and openness
of the doodle into
the world of deprivations, inhibitions and boredom.
The viewer is drawn by the
scale and openness
of the image into
the world of bare feet and the passive nose.
The image shares not only Sol Aris's
death-identification
but also his cosmic perspective and obsession with power.
This striking piece is
quintessential to
one of the central preoccupations of Sol Aris's art,
the understanding of the
strangely
twisted
quickly
flying
articulations
where the relationship of the spectator to the image
is
the pattern of unconscious thought.
In this image Sol Aris
shows
the relationship between
honey and beer.
Paradoxically,
we see the
diagonal axis
representing
the inner ego
undulate towards the centre of the sculpture,
suggesting
unreliability.
It is important to understand that the
idea behind stereometric construction
is that it encourages the viewer
to define the composition in terms of
dimensionality,
rather than representational versimilitude.
``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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