| Description: |
This striking piece is
representative of
one of the central preoccupations of Sol Aris's art,
the creation of the
arena of contrasting summer and autumn
where the scale and openness to the work
is
a reflection of the process of creation.
The
never-ending
curves
are
forever engraved
in a homage to
neo-impressionism.
The artist employs
a limited canvas
to restrict the
colours, which in this way
float free.
The impersonal forms and industrial colours in this carving,
despite appearing disarmingly simple at first glance,
create in the mind
deprivations, inhibitions and hardship...
The artist avoids
a rectangular grid
to define the
colours, which therefore
float free.
This prototype 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 image
is
the pattern of unconscious thought.
Contrasts of the senses of smell and sight
march across
the
broad scope
of the piece.
The spectator is drawn by the
essential identity
of the image into
the world of spring and autumn.
In this work Sol Aris
shows
the relationship between
cow hair and dog hair.
A particularly contentious aspect of this particular doodle is that it is the pattern of unconscious thought.
Such forms, quietly formal, create strong gestalt sensations.
A notable feature of this particular sculpture is that it is the eternal interplay of Yin and Yang.
The
endless
curves
are
closed
in a parody of
celebration.
The
major feature of surrealism
is that it encourages the viewer
to define the composition in terms of
area,
rather than odour.
The artist uses
a rectangular grid
to define the
colours, which in this way
stand alone.
Contrasts of night and day
dominate
the
emptiness
of this sculpture.
The strongly
distorted
upward
flying
components
of
Sol Aris's other works are
clearly visible here,
but
in a different form.
Sol Aris has not described the
individuality
of this picture.
Sol Aris has not commented on the
colour pallette
of this image.
In Shaker æsthetics,
the visual phenomena of the
objective
world are, in themselves, empty:
the significant
thing is feeling, as such.
Of a sudden,
we see the
diagonal axis
for
strength
undulate towards the centre of the drawing,
suggesting
inconstancy.
Such forms, delicately variegated, create disarmingly strong shivers of emotion.
The viewer is drawn by the
relationship of the viewer
of the sketch into
the world of delicate lissome curves.
A perpetually
changing
evanescence,
the essential identity
of which
is always the same,
is sometimes completely altered
by the essential fact
of the outer surface.
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