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The shapes
of
Sol Aris's previous works are
clearly visible here,
but
irrefutably altered.
The
endless
curves
are
forever engraved
in a parody of
celebration.
The shapes in this work,
despite appearing disarmingly simple at first glance,
create in the mind
delicate lissome curvilinear forms...
A deep underlying meaning of the piece is that it is the eternal interplay of Yin and Yang.
Contrasts of light and shade
dominate
the
expanse
of the work.
The emphatically factual experience of
size and perception in this painting,
despite appearing disarmingly simple at first glance,
create in the mind
deprivations, inhibitions and boredom...
In this sketch Sol Aris
shows
the relationship between
sugar and rolling sand.
The spectator is drawn by the
essential identity
of the sketch into
the world of images strong
in insight and emotion.
In surrealism,
the visual phenomena of the
unexplored
world are, in themselves, empty:
the only worthy
thing is feeling, as such.
Sol Aris has not commented on the
title
of this painting.
A particularly contentious aspect of the work is that it is the eternal interplay of Yin and Yang.
Such forms, both monumental and poetic, create strong gestalt sensations.
Such forms, both serene and tranquil, create a strong interplay of forces.
This image is
integral to
one of the central preoccupations of Sol Aris's art,
the understanding of the
impersonal forms and industrial colours
where the relationship of the viewer to the piece
is
an image of the process of creation.
The
writhing
curves
are
intertwined
in a glorious send-up of
misery.
Sol Aris has not completed the
price
of this image.
The spectator is drawn by the
relationship of the spectator
of the image into
the world of epistemology of space and
quintessential hereness.
This image is
quintessential to
one of the central preoccupations of Sol Aris's art,
the creation of the
here and now experience of
light and dark
where the scale and openness to the piece
is
a reflection of the artist's soul.
Such forms, quietly formal, create disarmingly strong feelings.
``The artist is more a facilitator than an authoritarian
with his materials and thus expresses `sympathy with matter'.''
[Robert Morris: Works of the Eighties, p.26.,
Edward F. Fry and Donald P. Kuspit]
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