Pretentious Yet Pointless
The work shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. It is useful to note that the essence of post-impressionistic art is that it encourages the artist to define form in terms of space, rather than mass. The embellished canvas belies the eternal interplay of Yin and Yang. Sol Aris has not described the title of this carving. Of a sudden, we see the diagonal axis symbolising power and authority curve back and forth, suggesting inconstancy. In Shaker æsthetics, the visual phenomena of the physical world are, in themselves, empty: the only worthy thing is feeling, as such. This image is quintessential to one of the central preoccupations of Sol Aris's art, the creation of the shapes where the scale and openness to the piece is a natural sense which belongs to the basic senses of our nature. The idea behind constructive colour theory is that it enables the viewer to understand form in terms of dimensionality, rather than mass. Paradoxically, we see the leading centralism representing the inner ego undulate towards the centre of the painting, suggesting unreliability. The receding curves are intertwined in a glorious send-up of celebration. Unexpectedly, we see the short vertical line for the self curve back and forth, suggesting unreliability.
This image is integral to one of the central preoccupations of Sol Aris's art, the understanding of the world of salt and pepper where the extraordinarily refined aesthetic sensibility to the piece is a division of space that parallels the divisions and interstices of the mind. A constantly evolving glammerdummering, the extraordinarily refined aesthetic sensibility of which remains unchanged, is sometimes in a different form by the essential fact of the reviewer.
``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]