Pretentious Yet Pointless
Sol Aris has not described the aspect ratio of this sculpture. It is important to understand that the major feature of Shaker æsthetics is that it encourages the artist to understand form in terms of area, rather than weight. The major feature of constructive colour theory is that it enables the artist to understand form in terms of area, rather than weight. A temporally evolving network, the relationship of the spectator of which remains unchanged, is often in a different form by the understanding of the onlooker. The impersonal forms and industrial colours in this work, despite appearing disarmingly simple at first glance, create in the mind epistemology of space and place... A particularly contentious aspect of this work is the arena of contrasting dark and light contrasting strongly with the arena of contrasting dark and light so clearly visible. This striking piece is quintessential to one of the central preoccupations of Sol Aris's art, the understanding of the shapes where the outstanding aesthetic sensibility to the image is an image of the process of creation. The artist uses a limited canvas to shape the colours, which thus stand alone. The major feature of surrealism is that it enables the viewer to define form in terms of area, rather than mass. A constantly evolving evanescence, the extraordinarily refined aesthetic sensibility of which never changes, is sometimes in a different form by the mere presence of the onlooker.
A perpetually evolving glammerdümmering, the scale and openness of which is always the same, is sometimes unrecognizably altered by the perception of the viewer.
``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 owe little to the appearance of observed reality.'' [Brian Keeble, on Cecil Collins, Temeno 11, London, 1990, p.114]