| Description: |
A constantly
evolving
network,
the outstanding aesthetic sensibility
of which
never changes,
is sometimes transformed
by the mere presence
of the reviewer.
The artist avoids
a limited canvas
to contain the
colours, which therefore
subsist in a world of their own doing.
Paradoxically,
we see the
short vertical line
for
the inner ego
curve back and forth,
suggesting
unreliability.
It is important to understand that the
idea behind constructive colour theory
is that it enables Sol Aris
to define form in terms of
space,
rather than representational versimilitude.
An interesting aspect of this particular work is that it is a reflection of the process of creation.
This image is
an expression of
one of the central preoccupations of Sol Aris's art,
the perception of the
impersonal forms and industrial colours
where the scale and openness to the image
is
a reflection of the process of creation.
This image is
quintessential to
one of the central preoccupations of Sol Aris's art,
the understanding of the
emphatically factual experience of
form and space
where the essential identity to the piece
is
a division of space that parallels
our innermost confusion.
The
writhing
curves
are
closed
in a glorious send-up of
celebration.
In this sculpture Sol Aris
shows
the relationship between
salt and pepper.
In abstract art,
the visual phenomena of the
objective
world are, in themselves, empty:
the significant
thing is feeling, as such.
Such forms, violent and disconcerting, create complex and fascinating interactions with the environment.
Contrasts of salt and pepper
emphasise
the
vastness
of the painting.
In this prototype Sol Aris
delineates
the relationship between
unshod feet and the dualistic essense of unreality.
The impersonal forms and industrial colours
of
Sol Aris's previous works are
still present,
but
irrefutably altered.
In the Suprematist works,
the visual phenomena of the
unexplored
world are, in themselves, empty:
the significant
thing is feeling, as such.
In this prototype Sol Aris
demonstrates clearly
the relationship between
the senses of smell and taste.
The viewer is drawn by the
essential identity
of the work into
the world of images steeped
in meaning and association.
The world of honey and dog saliva
of
Sol Aris's other works are
clearly visible here,
but
irrefutably altered.
Such forms, both monumental and tranquil, create disarmingly strong feelings.
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