Pretentious Yet Pointless
Sol Aris has not described the aspect ratio of this image. In this sculpture Sol Aris demonstrates clearly the relationship between salt and pepper. The never-ending curves are closed in a glorious send-up of the Suprematist school. A temporally evolving evanescence, the scale and openness of which is always constant, is sometimes in a different form by the perception of the environment. The artist employs traditional proportions to shape the colours, which in this way stand alone.
This striking piece is an expression of one of the central preoccupations of Sol Aris's art, the creation of the strongly curved upward floating components where the scale and openness to the piece is the essential distinction between pattern and texture. A constantly evolving glammerdümmering, the outstanding aesthetic sensibility of which remains unchanged, is often unrecognizably altered by the perception of the onlooker.
In this prototype Sol Aris delineates the relationship between salt and pepper. This striking piece is quintessential to one of the central preoccupations of Sol Aris's art, the understanding of the strongly curved upward floating articulations where the scale and openness to the sketch is a reflection of the artist's soul. A constantly evolving glammerdummering, the essential identity of which is always constant, is always transformed by the essential fact of the reviewer. The arena of contrasting happiness and white wine of Sol Aris's other works are still present, but in a different form.
The viewer is drawn by the essential identity of the sketch into the world of measure when calculating long periods of time. The viewer is drawn by the relationship of the viewer of the image into the world of invaluable cultural relics. Unexpectedly, we see the short vertical line symbolising the self curve back and forth, suggesting inconstancy. Such forms, violent and disconcerting, create strong gestalt sensations. The writhing curves are closed in a glorious send-up of misery.
In this carving Sol Aris shows the relationship between the human foot and rolling sand. The idea behind stereometric construction is that it enables the viewer to define the composition in terms of space, rather than representational versimilitude.
``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]