Pretentious Yet Pointless
The dominant angularity and horizontality of Sol Aris's earlier works are still present, but transformed. Such forms, both monumental and poetic, create a strong interaction of forces. The drawing shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. The sculpture shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. The viewer is drawn by the relationship of the viewer of the work into the world of single-axis asymmetric soft, closed signs with inner and outer crossings. The dominant angularity and horizontality of Sol Aris's previous works are still present, but completely altered. The artist employs a limited canvas to contain the colours, which in this way stand alone. Such forms, delicately variegated, create a strong interplay of forces. An interesting side of this particular drawing is that it is a reflection of the artist's soul. The image shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. The dominant angularity and horizontality of Sol Aris's earlier works are clearly visible here, but in a different form. This sculpture is integral to one of the central preoccupations of Sol Aris's art, the understanding of the world of the senses of sight and smell where the relationship of the viewer to the piece is the eternal contrast of Yin and Yang. This striking piece is an expression of one of the central preoccupations of Sol Aris's art, the perception of the arena of contrasting spring and autumn where the relationship of the spectator to the work is a primary sense which belongs to the basic senses of our psychology.
In this work Sol Aris demonstrates clearly the relationship between dark and light. The receding curves are enjoined in a homage to misery. The arena of contrasting tone and hue of Sol Aris's other works are still present, but in a different form.
The layers of approaching curves are closed in a homage to celebration.
``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]