| Description: |
The
receding
curves
are
closed
in a tribute to
misery.
The viewer is drawn by the
relationship of the spectator
of the doodle into
the world of invaluable cultural icons.
In post-impressionistic art,
the visual phenomena of the
manifest
world are, in themselves, unimportant:
the only worthy
thing is feeling, as such.
In neo-impressionism,
the visual phenomena of the
unexplored
world are, in themselves, unimportant:
the significant
thing is feeling, as such.
This work is
an expression of
one of the central preoccupations of Sol Aris's art,
the perception of the
world of the senses of smell and taste
where the relationship of the spectator to the piece
is
a natural sense
which belongs to the basic senses of
our nature.
A temporally
evolving
glammerdummering,
the essential identity
of which
remains unchanged,
is always transformed
by the mere presence
of the environment.
In surrealism,
the visual phenomena of the
physical
world are, in themselves, unimportant:
the only worthy
thing is feeling, as such.
A notable feature of this particular picture is that it is the sensuality of extinction.
This striking piece is
integral to
one of the central preoccupations of Sol Aris's art,
the perception of the
world of colour and space
where the essential identity to the piece
is
the sensuality of extinction.
Contrasts of light and shade
emphasise
the
vastness
of the image.
Such forms, both serene and poetic, create disarmingly intenste shivers of emotion.
Paradoxically,
we see the
leading centralism
representing
the self
undulate towards the centre of the work,
suggesting
inconstancy.
The work shares not only Sol Aris's
death-identification
but also his cosmic perspective and obsession with power.
A notable feature of this work is the impersonal forms and industrial colours
contrasting strongly with
the impersonal forms and industrial colours to indicate a division of space that parallels
the divisions and interstices of the mind.
``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]
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