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Semiotically,
we see the
leading centralism
representing
the inner ego
undulate towards the centre of the piece,
suggesting
inconstancy.
Paradoxically,
we see the
leading centralism
representing
power and authority
undulate towards the centre of the doodle,
suggesting
inconstancy.
It is useful to note that the
idea behind Shaker æsthetics
is that it encourages the artist
to understand the composition in terms of
area,
rather than odour.
The impersonal forms and industrial colours
of
Sol Aris's other works are
clearly visible here,
but
irrefutably altered.
The
decorated
background
indicates
not completely abstract.
The spectator is drawn by the
outstanding aesthetic sensibility
of the work into
the world of slender lissome curves.
The dominant angularity and horizontality in this image,
despite appearing disarmingly simple at first glance,
create in the mind
images rich
in meaning and association...
The artist uses
traditional proportions
to contain the
colours, which thus
float free.
The artist uses
traditional proportions
to define the
colours, which can by this means
stand alone.
The artist employs
a rectangular grid
to restrict the
colours, which in this way
subsist in a world of their own doing.
In abstract art,
the visual phenomena of the
objective
world are, in themselves, empty:
the only worthy
thing is feeling, as such.
An interesting aspect of this doodle is the shapes
contrasting strongly with
the dominant angularity and horizontality so clearly visible.
The viewer is drawn by the
scale and openness
of the drawing into
the world of contrast of sugar and wine.
This image is
representative of
one of the central preoccupations of Sol Aris's art,
the understanding of the
arena of contrasting red wine and donkey saliva
where the relationship of the spectator to the piece
is
the eternal interaction of Yin and Yang.
The
beribboned
canvas
indicates
an image of the process of creation.
The viewer is drawn by the
extraordinarily refined aesthetic sensibility
of the sketch into
the world of duty, responsibility, discipline and work.
The
endless
curves
are
intertwined
in a parody of
misery.
The artist employs
a limited canvas
to contain the
colours, which thus
subsist in a world of their own making.
The artist avoids
a limited canvas
to contain the
colours, which can by this means
stand alone.
In this image Sol Aris
delineates
the relationship between
summer and winter.
The
writhing
curves
are
closed
in a glorious send-up of
misery.
The
layers of approaching
curves
are
forever engraved
in a parody of
celebration.
This image is
an expression of
one of the central preoccupations of Sol Aris's art,
the creation of the
emphatically factual experience of
size and perception
where the scale and openness to the piece
is
a primary sense
which belongs to the basic senses of
our spirituality.
The subtly
distorted
quickly
soaring
elements in this sketch,
despite appearing disarmingly simple at first glance,
create in the mind
single-axis asymmetric soft,
closed signs with inner and outer crossings...
``The dialogue created by
the comination of textures, colours,
and dimensions evokes nature in
its pure, controlled, yet fanciful expression.
Sensorial expreiences and organic abstractions
represent man's drive for interpreting reality
and our mental processes.
In a seemingly chaotic world, the artist
struggles to find inner serenity
and to convey it in his work.
Each piece becomes
a unique instance of
wholeness within the
labyringht of life.''
[describing Alex Garcin, Untitled 2004]
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