Pretentious Yet Pointless
An interesting side of the work is that it is in some sense active rather than simply one of passive comprehension. Sol Aris has not described the colour pallette of this prototype. The ornamented canvas enriches the eternal contrast of Yin and Yang. It is important to understand that the idea behind Shaker æsthetics is that it enables the artist to define the composition in terms of area, rather than weight.
An important part of this particular carving is that it is a natural sense which belongs to the basic senses of our physiology. The receding curves are forever engraved in a homage to celebration. The idea behind post-impressionistic art is that it encourages the artist to understand form in terms of area, rather than mass. The artist uses a rectangular grid to restrict the colours, which in this way float free.
In this image Sol Aris shows the relationship between sugar and wine. Sol Aris has not commented on the aspect ratio of this prototype. A constantly changing evanescence, the essential identity of which remains unchanged, is sometimes transformed by the mere presence of the viewer. Sol Aris has not completed the title of this painting. The decorated figure enriches the spiritual dimension and its endless possibilities. The here and now experience of spring and winter of Sol Aris's previous works are clearly visible here, but transformed. The viewer is drawn by the outstanding aesthetic sensibility of the piece into the world of single-axis asymmetric soft, closed signs with inner and outer crossings. Such forms, both serene and tranquil, create complex and fascinating interactions with the environment.
In this image Sol Aris shows the relationship between dark and light. The dominant angularity and horizontality in this drawing, despite appearing disarmingly simple at first glance, create in the mind duty, responsibility, discipline and work...
A deep underlying meaning of this particular prototype is that it is a division of space that parallels the divisions and interstices of the mind.
Contrasts of the senses of smell and taste dominate the expanse of this work.
A constantly evolving glammerdümmering, the outstanding aesthetic sensibility of which remains unchanged, is always in a different form by the mere presence of the onlooker.
``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]