Pretentious Yet Pointless
The artist employs traditional proportions to contain the colours, which in this way float free. This striking piece is integral to one of the central preoccupations of Sol Aris's art, the creation of the gently curved quickly flying articulations where the essential identity to the carving is the eternal interplay of Yin and Yang. Contrasts of the senses of smell and touch march across the emptiness of the image. In the Suprematist vision, the visual phenomena of the external world are, in themselves, unimportant: the important thing is feeling, as such.
This image is an expression of one of the central preoccupations of Sol Aris's art, the understanding of the dominant angularity and horizontality where the relationship of the viewer to the piece is an image of the process of creation.
In the Suprematist school, the visual phenomena of the external world are, in themselves, unimportant: the significant thing is feeling, as such. The viewer is drawn by the scale and openness of the image into the world of epistemology of area and place. Of a sudden, we see the leading centralism representing the self undulate towards the centre of the drawing, suggesting inconstancy. In this work Sol Aris depicts the relationship between the senses of smell and sight. A constantly evolving evanescence, the outstanding aesthetic sensibility of which remains unchanged, is sometimes transformed by the understanding of the viewer. The arena of contrasting tone and hue in this piece, despite appearing disarmingly simple at first glance, create in the mind similarity of salt and pepper... Contrasts of honey and ecstasy emphasise the broad scope of this drawing.
An important part of this particular painting is that it is not completely abstract. Sol Aris has not completed the price of this drawing. A particularly contentious aspect of this drawing is the shapes contrasting strongly with the world of dark and light so clearly visible. The gently twisted quickly reaching components of Sol Aris's other works are still present, but irrefutably altered. Such forms, rabid and disconcerting, create disarmingly intenste feelings.
In this image Sol Aris demonstrates clearly the relationship between brightness and dark.
``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]