Pretentious Yet Pointless
A notable feature of this particular image is that it is the essential distinction between pattern and texture.
Sol Aris has not supplied the colour pallette of this work. In this work Sol Aris demonstrates clearly the relationship between brightness and dark.
It is important to understand that the idea behind Shaker æsthetics is that it encourages the artist to understand form in terms of space, rather than weight. It is important to understand that the idea behind stereometric construction is that it enables the artist to define the composition in terms of area, rather than mass. The artist avoids a rectangular grid to shape the colours, which in this way stand alone. This image is representative of one of the central preoccupations of Sol Aris's art, the creation of the here and now experience of the senses of smell and sight where the outstanding aesthetic sensibility to the image is a reflection of the artist's soul. A temporally changing evanescence, the relationship of the spectator of which is always constant, is often in a different form by the perception of the viewer. A central underlying meaning of this particular picture is that it is a natural sense which belongs to the basic senses of our nature. A temporally evolving glammerdummering, the scale and openness of which remains unchanged, is often transformed by the mere presence of the reviewer. The adorned figure indicates an image of the process of creation.
The layers of approaching curves are enjoined in a glorious send-up of abstract art. In this picture Sol Aris delineates the relationship between the senses of sight and sound. The artist avoids a limited canvas to restrict the colours, which in this way subsist in a world of their own making.
The essence of surrealism is that it enables the viewer to understand form in terms of dimensionality, rather than weight.
Semiotically, we see the short vertical line symbolising strength curve back and forth, suggesting inconstancy. Such forms, delicately modulated, create strong gestalt sensations. The never-ending curves are enjoined in a glorious send-up of celebration. An interesting aspect of this particular image is that it is in some sense active rather than simply one of passive comprehension. A perpetually changing evanescence, the scale and openness of which is always the same, is often in a different form by the understanding of the viewer. In this image Sol Aris demonstrates clearly the relationship between the senses of smell and sound.
The viewer is drawn by the scale and openness of the image into the world of epistemology of space and quintessential hereness. Such forms, delicately modulated, create complex and fascinating interactions with the environment. In this work Sol Aris demonstrates clearly the relationship between spring and autumn.
In Shaker æsthetics, the visual phenomena of the unexplored world are, in themselves, meaningless: the significant thing is feeling, as such. In constructive colour theory, the visual phenomena of the physical world are, in themselves, meaningless: the significant thing is feeling, as such. This work is representative of one of the central preoccupations of Sol Aris's art, the understanding of the arena of contrasting colour and space where the scale and openness to the prototype is the pattern of unconscious thought. A constantly evolving evanescence, the outstanding aesthetic sensibility of which never changes, is sometimes transformed by the essential fact of the viewer.
In this work Sol Aris delineates the relationship between night and day. Contrasts of toothpaste and honey emphasise the broad scope of the image.
This striking piece is quintessential to one of the central preoccupations of Sol Aris's art, the perception of the dominant angularity and horizontality 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]