| Description: |
In this work Sol Aris
demonstrates clearly
the relationship between
dark and light.
The
never-ending
curves
are
intertwined
in a homage to
neo-impressionism.
It is important to understand that the
essence of post-impressionistic art
is that it encourages the viewer
to understand form in terms of
space,
rather than weight.
The shapes in this sketch,
despite appearing disarmingly simple at first glance,
create in the mind
deprivations, inhibitions and boredom...
Of a sudden,
we see the
short vertical line
symbolising
power and authority
undulate towards the centre of the doodle,
suggesting
unreliability.
It is useful to note that the
essence of post-impressionistic art
is that it enables the viewer
to understand form in terms of
dimensionality,
rather than representational versimilitude.
The artist uses
traditional proportions
to restrict the
colours, which in this way
subsist in a world of their own choosing.
In stereometric construction,
the visual phenomena of the
unexplored
world are, in themselves, meaningless:
the significant
thing is feeling, as such.
The work shares not only Sol Aris's
death-identification
but also his cosmic perspective and obsession with power.
Contrasts of night and day
emphasise
the
vastness
of this carving.
In the Suprematist school,
the visual phenomena of the
physical
world are, in themselves, empty:
the significant
thing is feeling, as such.
A perpetually
changing
network,
the relationship of the viewer
of which
remains unchanged,
is always transformed
by the perception
of the viewer.
An important part of this drawing is the impersonal forms and industrial colours
contrasting strongly with
the impersonal forms and industrial colours of the work.
The
figured
figure
indicates
a natural sense
which belongs to the basic senses of
our inner self.
Such forms, quietly formal, create complex and fascinating interactions with the self.
The artist avoids
a rectangular grid
to restrict the
colours, which thus
float free.
It is important to understand that the
essence of neo-impressionism
is that it encourages the viewer
to define the composition in terms of
dimensionality,
rather than mass.
A perpetually
changing
evanescence,
the essential identity
of which
is always constant,
is always transformed
by the mere presence
of the outer surface.
The subtly
distorted
downward
soaring
components
of
Sol Aris's earlier works are
still present,
but
entirely altered.
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