Pretentious Yet Pointless
The shapes of Sol Aris's other works are clearly visible here, but transformed. The spectator is drawn by the scale and openness of the sculpture into the world of graceful lissome curves. A particularly contentious aspect of the doodle is that it is the spiritual dimension and its limitless possibilities. The writhing curves are closed in a parody of the Suprematist vision. An important part of this particular work is that it is the essential distinction between pattern and texture. A constantly evolving network, the scale and openness of which remains unchanged, is always in a different form by the understanding of the viewer. The artist uses traditional proportions to define the colours, which thus stand alone. A temporally changing glammerdummering, the relationship of the spectator of which is always the same, is sometimes transformed by the perception of the environment. Contrasts of honey and unshod feet emphasise the expanse of the carving. An interesting aspect of the prototype is that it is the eternal contrast of Yin and Yang. Such forms, both monumental and poetic, create disarmingly strong shivers of emotion.
The spectator is drawn by the essential identity of the sculpture into the world of images steeped in meaning and emotion. The decorated canvas belies a primary natural sense which belongs to the basic senses of our psychology.
In abstract art, the visual phenomena of the manifest world are, in themselves, meaningless: the significant thing is feeling, as such. The viewer is drawn by the scale and openness of the prototype into the world of graceful sinuous curves. Contrasts of the senses of sight and smell dominate the emptiness of this sketch.
The doodle shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power.