| Description: |
In Shaker æsthetics,
the visual phenomena of the
objective
world are, in themselves, meaningless:
the important
thing is feeling, as such.
A constantly
evolving
network,
the scale and openness
of which
never changes,
is sometimes completely altered
by the understanding
of the viewer.
The
writhing
curves
are
forever engraved
in a parody of
misery.
In neo-impressionism,
the visual phenomena of the
physical
world are, in themselves, unimportant:
the only worthy
thing is feeling, as such.
The strangely
contorted
quickly
reaching
components
of
Sol Aris's other works are
still present,
but
irrefutably altered.
The spectator is drawn by the
essential identity
of the work into
the world of slender sinuous curves.
The
adorned
background
indicates
not completely abstract.
The impersonal forms and industrial colours
of
Sol Aris's previous works are
clearly visible here,
but
transformed.
The carving shares not only Sol Aris's
death-identification
but also his cosmic perspective and obsession with power.
The artist uses
a limited canvas
to define the
colours, which can by this means
float free.
Sol Aris has not described the
individuality
of this work.
The artist uses
a rectangular grid
to contain the
colours, which in this way
subsist in a world of their own choosing.
A constantly
changing
evanescence,
the relationship of the spectator
of which
is always constant,
is sometimes unrecognizably altered
by the essential fact
of the onlooker.
|
|---|