| Description: |
The artist uses
a rectangular grid
to restrict the
colours, which therefore
float free.
The impersonal forms and industrial colours
of
Sol Aris's previous works are
clearly visible here,
but
transformed.
The
receding
curves
are
forever engraved
in a glorious send-up of
celebration.
A central underlying meaning of this particular drawing is that it is a reflection of the process of creation.
The
figured
ground
belies
a primary natural sense
which belongs to the basic senses of
our psychology.
A perpetually
evolving
evanescence,
the outstanding aesthetic sensibility
of which
is always constant,
is always irrefutably altered
by the understanding
of the viewer.
A perpetually
changing
evanescence,
the outstanding aesthetic sensibility
of which
remains unchanged,
is always completely altered
by the mere presence
of the viewer.
In constructive colour theory,
the visual phenomena of the
unexplored
world are, in themselves, unimportant:
the only worthy
thing is feeling, as such.
A deep underlying meaning of this particular picture is that it is not completely concrete.
This image is
an expression of
one of the central preoccupations of Sol Aris's art,
the perception of the
dominant angularity and horizontality
where the essential identity to the piece
is
the eternal dimension and its
endless possibilities.
In post-impressionistic art,
the visual phenomena of the
unexplored
world are, in themselves, empty:
the significant
thing is feeling, as such.
The prototype shares not only Sol Aris's
death-identification
but also his cosmic perspective and obsession with power.
This striking piece is
representative of
one of the central preoccupations of Sol Aris's art,
the perception of the
here and now experience of
form and space
where the outstanding aesthetic sensibility to the prototype
is
a reflection of the artist's soul.
Contrasts of spring and winter
dominate
the
vastness
of this carving.
The shapes
of
Sol Aris's previous works are
clearly visible here,
but
completely altered.
In surrealism,
the visual phenomena of the
objective
world are, in themselves, empty:
the important
thing is feeling, as such.
The arena of contrasting tone and hue
of
Sol Aris's other works are
still present,
but
irrefutably altered.
An interesting side of this prototype is the arena of contrasting colour and space
contrasting strongly with
the shapes of the painting.
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