Pretentious Yet Pointless
It is important to understand that the major feature of constructive colour theory is that it encourages the viewer to understand form in terms of dimensionality, rather than weight. In this prototype Sol Aris demonstrates clearly the relationship between the senses of smell and touch. Such forms, both serene and tranquil, create disarmingly intenste shivers of emotion. The never-ending curves are forever engraved in a glorious send-up of misery. The dominant angularity and horizontality of Sol Aris's previous works are still present, but transformed. This striking piece is integral to one of the central preoccupations of Sol Aris's art, the perception of the here and now experience of the senses of sight and smell where the relationship of the spectator to the prototype is a division of space that parallels our innermost confusion.
This image is representative of one of the central preoccupations of Sol Aris's art, the creation of the impersonal forms and industrial colours where the outstanding aesthetic sensibility to the drawing is the essential distinction between pattern and texture.
An important part of this painting is the shapes contrasting strongly with the arena of contrasting tone and hue to indicate a reflection of the artist's soul. A deep underlying meaning of this particular piece is that it is the sensuality of intoxification. Such forms, delicately variegated, create a strong interaction of forces. The emphatically factual experience of form and space of Sol Aris's previous works are still present, but in a different form. In the Suprematist school, the visual phenomena of the objective world are, in themselves, unimportant: the significant thing is feeling, as such.
``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]