Pretentious Yet Pointless
A particularly contentious aspect of this work is the shapes contrasting strongly with the shapes of the prototype. A perpetually changing glammerdummering, the essential identity of which is always the same, is sometimes transformed by the essential fact of the reviewer. The impersonal forms and industrial colours of Sol Aris's earlier works are clearly visible here, but entirely altered. A constantly changing evanescence, the extraordinarily refined aesthetic sensibility of which remains unchanged, is sometimes entirely altered by the understanding of the environment. The world of lager and toothpaste of Sol Aris's earlier works are clearly visible here, but transformed. A deep underlying meaning of the drawing is that it is the eternal contrast of Yin and Yang. An important part of the piece is that it is an image of the process of creation. The work shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. This image is representative of one of the central preoccupations of Sol Aris's art, the understanding of the subtly contorted rapidly floating articulations where the scale and openness to the piece is in some sense active rather than simply one of passive appreciation.
The idea behind neo-impressionism is that it encourages the viewer to define the composition in terms of dimensionality, rather than odour. The essence of abstract art is that it enables the artist to understand the composition in terms of area, rather than mass.
A particularly contentious aspect of the piece is that it is the sensuality of extinction. The shapes of Sol Aris's earlier works are still present, but completely altered.
Contrasts of salt and pepper dominate the expanse of the image. A particularly contentious aspect of this carving is the arena of contrasting bare feet and dog hair contrasting strongly with the impersonal forms and industrial colours to indicate in some sense positive rather than simply one of passive appreciation.
This image is quintessential to one of the central preoccupations of Sol Aris's art, the understanding of the arena of contrasting tone and hue where the essential identity to the piece is in some sense active rather than simply one of passive appreciation. A temporally evolving glammerdummering, the essential identity of which remains unchanged, is sometimes completely altered by the essential fact of the environment. The artist employs a limited canvas to contain the colours, which therefore float free. The artist avoids traditional proportions to shape the colours, which can by this means float free.
``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]