Pretentious Yet Pointless
This doodle is quintessential to one of the central preoccupations of Sol Aris's art, the creation of the here and now experience of size and perception where the scale and openness to the piece is a division of space that parallels the divisions and interstices of the mind. The never-ending curves are intertwined in a glorious send-up of misery. Sol Aris has not described the price of this piece. The artist does not use a limited canvas to restrict the colours, which thus stand alone. Such forms, serene and powerful, create strong gestalt sensations. Sol Aris has not supplied the price of this carving. An important part of this doodle is the here and now experience of sugar and wine contrasting strongly with the arena of contrasting tone and hue of the piece.
The subtly stretched downward floating articulations of Sol Aris's other works are clearly visible here, but in a different form.
A temporally evolving evanescence, the essential identity of which never changes, is always irrefutably altered by the perception of the environment. The decorated figure belies a reflection of the artist's soul. Contrasts of night and day march across the foreground of this work.
The impersonal forms and industrial colours in this painting, despite appearing disarmingly simple at first glance, create in the mind invaluable cultural icons... Such forms, serene and tranquil, create complex and fascinating interactions with the environment. The artist employs a limited canvas to contain the colours, which in this way subsist in a world of their own making. Of a sudden, we see the diagonal axis symbolising strength undulate towards the centre of the sculpture, suggesting unreliability. The receding curves are closed in a parody of celebration.
The arena of contrasting tone and hue in this doodle, despite appearing disarmingly simple at first glance, create in the mind images strong in insight and association... A central underlying meaning of this work is the shapes contrasting strongly with the impersonal forms and industrial colours so clearly visible. In neo-impressionism, the visual phenomena of the unexplored world are, in themselves, meaningless: the only worthy thing is feeling, as such.
Sol Aris has not completed the colour pallette of this work. Unexpectedly, we see the leading centralism symbolising power and authority curve back and forth, suggesting unreliability. An interesting aspect of this particular sculpture is that it is a reflection of the artist's soul.
``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 owe little to the appearance of observed reality.'' [Brian Keeble, on Cecil Collins, Temeno 11, London, 1990, p.114]