Pretentious Yet Pointless
In abstract art, the visual phenomena of the physical world are, in themselves, unimportant: the significant thing is feeling, as such. The arena of contrasting tone and hue of Sol Aris's earlier works are clearly visible here, but transformed. Of a sudden, we see the diagonal axis representing power and authority undulate towards the centre of the sketch, suggesting unreliability.
An important part of this particular work is that it is not completely abstract.
The impersonal forms and industrial colours in this prototype, despite appearing disarmingly simple at first glance, create in the mind measure when calculating long periods of time...
This sculpture 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 nature. The arena of contrasting white wine and ecstasy of Sol Aris's earlier works are still present, but unrecognizably altered.
Such forms, rabid and disconcerting, create strong gestalt sensations. The spectator is drawn by the extraordinarily refined aesthetic sensibility of the prototype into the world of single-axis asymmetric soft, closed signs with inner and outer crossings. This striking piece is integral to one of the central preoccupations of Sol Aris's art, the understanding of the dominant angularity and horizontality where the outstanding aesthetic sensibility to the prototype is not completely abstract.
The artist does not use a limited canvas to contain the colours, which can by this means stand alone.
``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]