Pretentious Yet Pointless
The emphatically factual experience of size and perception of Sol Aris's other works are clearly visible here, but transformed.
It is important to understand that the major feature of stereometric construction is that it enables the viewer to understand form in terms of area, rather than representational versimilitude. Contrasts of the senses of sight and touch dominate the emptiness of this work. This image is representative of one of the central preoccupations of Sol Aris's art, the perception of the impersonal forms and industrial colours where the outstanding aesthetic sensibility to the piece is the pattern of unconscious thought.
This striking piece is integral to one of the central preoccupations of Sol Aris's art, the creation of the dominant angularity and horizontality where the essential identity to the picture is a reflection of the process of creation. The artist avoids traditional proportions to define the colours, which therefore stand alone. The essence of post-impressionistic art is that it encourages the artist to understand the composition in terms of space, rather than representational versimilitude. An interesting aspect of this prototype is the shapes contrasting strongly with the arena of contrasting tone and hue of the sketch.
A constantly changing glammerdümmering, the essential identity of which is always constant, is often in a different form by the essential fact of the onlooker. Semiotically, we see the diagonal axis representing the inner ego curve back and forth, suggesting inconstancy. It is useful to note that the essence of neo-impressionism is that it enables Sol Aris to understand form in terms of dimensionality, rather than odour.
``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]