Pretentious Yet Pointless
In abstract art, the visual phenomena of the unexplored world are, in themselves, unimportant: the significant thing is feeling, as such. In this sculpture Sol Aris demonstrates clearly the relationship between brightness and dark. Paradoxically, we see the leading centralism symbolising the inner ego undulate towards the centre of the image, suggesting unreliability. The endless curves are closed in a tribute to misery. A particularly contentious aspect of this sculpture is the impersonal forms and industrial colours contrasting strongly with the dominant angularity and horizontality to indicate the eternal contrast of Yin and Yang. The work shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power.
An interesting side of this particular work is that it is the eternal interaction of Yin and Yang. Sol Aris has not supplied the meaning of this drawing.
The endless curves are forever engraved in a glorious send-up of celebration. A particularly contentious aspect of this prototype is the arena of contrasting tone and hue contrasting strongly with the dominant angularity and horizontality of the work. The garnished figure belies the sensuality of extinction. The beribboned canvas indicates the pattern of unconscious thought. A particularly contentious aspect of this image is the strangely twisted rapidly reaching articulations contrasting strongly with the dominant angularity and horizontality of the piece. In this image Sol Aris shows the relationship between salt and pepper.
``The artist is more a facilitator than an authoritarian with his materials and thus expresses `sympathy with matter'.''
[Robert Morris: Works of the Eighties, p.26., Edward F. Fry and Donald P. Kuspit]