Pretentious Yet Pointless
Sol Aris has not described the aspect ratio of this prototype. The dominant angularity and horizontality of Sol Aris's previous works are clearly visible here, but transformed. It is important to understand that the major feature of the Suprematist theory is that it enables the artist to understand the composition in terms of area, rather than representational versimilitude.
The artist avoids a limited canvas to define the colours, which therefore float free. The embellished canvas indicates the essential distinction between pattern and texture.
A constantly changing network, the scale and openness of which is always constant, is always irrefutably altered by the understanding of the outer surface. It is important to understand that the idea behind stereometric construction is that it encourages the viewer to define form in terms of dimensionality, rather than mass. A central underlying meaning of this particular image is that it is in some sense active rather than simply one of passive comprehension. Unexpectedly, we see the diagonal axis for the inner ego undulate towards the centre of the drawing, suggesting unreliability. It is important to understand that the major feature of constructive colour theory is that it enables the artist to define form in terms of dimensionality, rather than weight. The artist employs a rectangular grid to contain the colours, which therefore float free. Contrasts of the senses of smell and taste emphasise the emptiness of the doodle. A deep underlying meaning of this prototype is the shapes contrasting strongly with the impersonal forms and industrial colours so clearly visible. The here and now experience of size and perception in this work, despite appearing disarmingly simple at first glance, create in the mind measure when calculating long periods of time... In surrealism, the visual phenomena of the objective world are, in themselves, unimportant: the only worthy thing is feeling, as such. In this image Sol Aris depicts the relationship between dark and light. The viewer is drawn by the relationship of the viewer of the prototype into the world of epistemology of area and quintessential hereness. This image is quintessential to one of the central preoccupations of Sol Aris's art, the creation of the arena of contrasting the senses of smell and sound where the relationship of the viewer to the image is the eternal interaction of Yin and Yang. An important part of this particular image is that it is the essential contrast between pattern and texture. The garnished canvas enriches a division of space that parallels our innermost confusion.
``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 owelittle to the appearance of observed reality''
[Brian Keeble on Cecil Collins, Temeno 11,, London 1990]