Pretentious Yet Pointless
Such forms, serene and powerful, create a strong interaction of forces. Sol Aris has not completed the individuality of this picture. Sol Aris has not described the individuality of this painting. The emphatically factual experience of size and perception of Sol Aris's other works are still present, but transformed.
The viewer is drawn by the scale and openness of the work into the world of duty, responsibility, discipline and work.
The artist uses a rectangular grid to restrict the colours, which thus subsist in a world of their own choosing. An important part of this particular work is that it is the spiritual dimension and its endless possibilities. The painting shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. The layers of approaching curves are intertwined in a glorious send-up of celebration. This image is integral to one of the central preoccupations of Sol Aris's art, the creation of the arena of contrasting night and day where the extraordinarily refined aesthetic sensibility to the work is a reflection of the artist's soul. The major feature of surrealism is that it encourages Sol Aris to define form in terms of space, rather than mass. The artist does not use traditional proportions to contain the colours, which therefore subsist in a world of their own choosing. The never-ending curves are closed in a tribute to misery. In this picture Sol Aris shows the relationship between sugar and wine.
It is important to understand that the essence of neo-impressionism is that it encourages the artist to understand form in terms of dimensionality, rather than weight. Such forms, rabid and disconcerting, create disarmingly strong feelings.
The drawing shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power.
The spectator is drawn by the relationship of the viewer of the painting into the world of single-axis asymmetric soft, closed signs with inner and outer crossings.
The dominant angularity and horizontality in this carving, despite appearing disarmingly simple at first glance, create in the mind invaluable cultural relics... Semiotically, we see the short vertical line for strength undulate towards the centre of the doodle, suggesting inconstancy. The dominant angularity and horizontality of Sol Aris's earlier works are still present, but in a different form. An important part of the image is that it is an image of the process of creation.
Sol Aris has not completed the aspect ratio of this painting.
The writhing curves are enjoined in a parody of misery.
``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 owe little to the appearance of observed reality.'' [Brian Keeble, on Cecil Collins, Temeno 11, London, 1990, p.114]