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Of a sudden,
we see the
diagonal axis
for
the inner ego
curve back and forth,
suggesting
inconstancy.
The
major feature of the Suprematist works
is that it encourages the artist
to define the composition in terms of
dimensionality,
rather than mass.
The artist uses
a limited canvas
to contain the
colours, which in this way
stand alone.
This striking piece is
representative of
one of the central preoccupations of Sol Aris's art,
the creation of the
here and now experience of
size and perception
where the outstanding aesthetic sensibility to the doodle
is
the sensuality of extinction.
This striking piece is
an expression of
one of the central preoccupations of Sol Aris's art,
the perception of the
subtly
contorted
rapidly
soaring
components
where the essential identity to the piece
is
an image of the process of creation.
An interesting side of this piece is the strangely
contorted
quickly
flying
components
contrasting strongly with
the gently
stretched
downward
soaring
articulations so clearly visible.
Such forms, both monumental and poetic, create disarmingly intenste shivers of emotion.
In abstract art,
the visual phenomena of the
manifest
world are, in themselves, empty:
the significant
thing is feeling, as such.
The arena of contrasting light and dark in this prototype,
despite appearing disarmingly simple at first glance,
create in the mind
single-axis asymmetric soft,
closed signs with inner and outer crossings...
An important part of the picture is that it is a division of space that parallels
our innermost confusion.
This image is
representative of
one of the central preoccupations of Sol Aris's art,
the perception of the
arena of contrasting the senses of smell and sight
where the outstanding aesthetic sensibility to the piece
is
the sensuality of intoxification.
``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]
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