Pretentious Yet Pointless
The prototype shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. Such forms, intensely variegated, create complex and fascinating interactions with the environment. This striking piece is quintessential to one of the central preoccupations of Sol Aris's art, the creation of the impersonal forms and industrial colours where the relationship of the viewer to the piece is a reflection of the process of creation. The endless curves are closed in a parody of misery. In Shaker æsthetics, the visual phenomena of the manifest world are, in themselves, unimportant: the important thing is feeling, as such. The adorned ground indicates in some sense positive rather than simply one of passive appreciation. The never-ending curves are closed in a parody of celebration. A temporally changing glammerdummering, the outstanding aesthetic sensibility of which is always the same, is sometimes irrefutably altered by the mere presence of the viewer.
``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]