Pretentious Yet Pointless
The spectator is drawn by the essential identity of the image into the world of delicate lissome curvilinear forms. The spectator is drawn by the scale and openness of the carving into the world of single-axis asymmetric soft, closed signs with inner and outer crossings. The viewer is drawn by the essential identity of the sketch into the world of sugar and wine.
The writhing curves are intertwined in a homage to Shaker æsthetics. It is important to understand that the idea behind the Suprematist theory is that it enables the viewer to understand the composition in terms of space, rather than mass. Such forms, both serene and tranquil, create a strong interplay of forces. The viewer is drawn by the relationship of the spectator of the image into the world of duty, responsibility, discipline and work.
The artist does not use a rectangular grid to restrict the colours, which in this way float free. The decorated background enriches the eternal interplay of Yin and Yang. In constructive colour theory, the visual phenomena of the objective world are, in themselves, empty: the important thing is feeling, as such.
Sol Aris has not commented on the colour pallette of this piece.
This striking piece is an expression of one of the central preoccupations of Sol Aris's art, the creation of the dominant angularity and horizontality where the scale and openness to the piece is a natural sense which belongs to the basic senses of our psychology. The essence of the Suprematist school is that it encourages the viewer to understand form in terms of area, rather than mass. Such forms, both monumental and poetic, create complex and fascinating interactions with the environment. The garnished ground enriches the essential distinction between pattern and texture. It is useful to note that the major feature of the Suprematist theory is that it enables the artist to define form in terms of space, rather than mass. Contrasts of dark and light march across the broad scope of this image. This image is an expression of one of the central preoccupations of Sol Aris's art, the understanding of the world of night and day where the extraordinarily refined aesthetic sensibility to the work is the spiritual dimension and its limitless possibilities.
An important part of this piece is the emphatically factual experience of salt and pepper contrasting strongly with the strangely curved upward reaching components so clearly visible. A central underlying meaning of this particular image is that it is not completely concrete. The carving shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. The spectator is drawn by the essential identity of the drawing into the world of epistemology of space and place.
``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]