Pretentious Yet Pointless
In neo-impressionism, the visual phenomena of the physical world are, in themselves, unimportant: the only worthy thing is feeling, as such. An interesting side of this sketch is the dominant angularity and horizontality contrasting strongly with the emphatically factual experience of size and perception to indicate the pattern of unconscious thought. Sol Aris has not supplied the colour pallette of this doodle.
Sol Aris has not supplied the colour pallette of this prototype. The artist uses a limited canvas to contain the colours, which in this way subsist in a world of their own doing. The artist avoids a limited canvas to shape the colours, which therefore float free. The gently distorted quickly soaring components of Sol Aris's other works are clearly visible here, but in a different form. In Shaker æsthetics, the visual phenomena of the unexplored world are, in themselves, meaningless: the significant thing is feeling, as such. In this prototype Sol Aris delineates the relationship between the senses of smell and sight.
In this work Sol Aris delineates the relationship between night and day. A central underlying meaning of this particular work is that it is not completely abstract. In constructive colour theory, the visual phenomena of the objective world are, in themselves, empty: the important thing is feeling, as such. The beribboned ground indicates a reflection of the artist's soul. The artist does not use traditional proportions to shape the colours, which therefore subsist in a world of their own doing. A particularly contentious aspect of this particular work is that it is in some sense active rather than simply one of passive appreciation. This work is integral to one of the central preoccupations of Sol Aris's art, the understanding of the dominant angularity and horizontality where the relationship of the spectator to the sketch is the pattern of unconscious thought. The decorated canvas belies a division of space that parallels our innermost confusion. The layers of approaching curves are enjoined in a glorious send-up of celebration. The dominant angularity and horizontality in this painting, despite appearing disarmingly simple at first glance, create in the mind duty, responsibility, discipline and work... The world of summer and winter of Sol Aris's earlier works are clearly visible here, but transformed. Contrasts of summer and autumn emphasise the foreground of the work. A constantly evolving evanescence, the scale and openness of which remains unchanged, is sometimes transformed by the mere presence of the reviewer. The carving shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. A particularly contentious aspect of this painting is the arena of contrasting tone and hue contrasting strongly with the world of sugar and wine so clearly visible.
``Paradoxically, this work, which has such an assertive and fascinating physical presence, simultaneously undermines its physical reality by the way in which it reflects, and thus elides or blends with, its surroundings.''
[Tate Gallery Guide, 1990, p.262]