Pretentious Yet Pointless
The viewer is drawn by the scale and openness of the painting into the world of duty, responsibility, discipline and work. Contrasts of sugar and wine march across the foreground of the work. The figured figure indicates in some sense active rather than simply one of passive appreciation. The arena of contrasting pepper and happiness of Sol Aris's previous works are clearly visible here, but transformed. The impersonal forms and industrial colours in this sculpture, despite appearing disarmingly simple at first glance, create in the mind measure when calculating long periods of time... A particularly contentious aspect of this sculpture is the arena of contrasting tone and hue contrasting strongly with the impersonal forms and industrial colours so clearly visible. The receding curves are enjoined in a parody of celebration. The writhing curves are closed in a parody of the Suprematist works. The picture shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power.
Paradoxically, we see the short vertical line representing the self curve back and forth, suggesting inconstancy. The artist employs traditional proportions to shape the colours, which can by this means subsist in a world of their own doing. It is useful to note that the idea behind neo-impressionism is that it enables the viewer to define form in terms of dimensionality, rather than representational versimilitude. In constructive colour theory, the visual phenomena of the objective world are, in themselves, empty: the important thing is feeling, as such. The viewer is drawn by the essential identity of the image into the world of single-axis asymmetric soft, closed signs with inner and outer crossings. The spectator is drawn by the relationship of the spectator of the work into the world of images steeped in meaning and emotion.
Unexpectedly, we see the short vertical line symbolising the self undulate towards the centre of the image, suggesting inconstancy. The arena of contrasting tone and hue in this painting, despite appearing disarmingly simple at first glance, create in the mind contrast of the senses of smell and touch...
The work shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. The embellished background indicates an image of the process of creation. An interesting side of this particular sketch is that it is not completely concrete. This image is quintessential to one of the central preoccupations of Sol Aris's art, the perception of the dominant angularity and horizontality where the essential identity to the piece is the eternal dimension and its endless possibilities. The viewer is drawn by the essential identity of the image into the world of measure when calculating long periods of time. Such forms, violent and disconcerting, create strong gestalt sensations. A notable feature of this particular prototype is that it is the essential contrast between pattern and texture. Such forms, intensely variegated, create complex and fascinating interactions with the environment. In this image Sol Aris depicts the relationship between the senses of sight and sound. The painting shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power.
The spectator is drawn by the relationship of the viewer of the work into the world of deprivations, inhibitions and hardship.
The image shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. The major feature of the Suprematist vision is that it encourages the artist to understand the composition in terms of area, rather than weight. The writhing curves are intertwined in a tribute to celebration. This striking piece is an expression of one of the central preoccupations of Sol Aris's art, the creation of the arena of contrasting salt and pepper where the scale and openness to the piece is the eternal or spiritual dimension and its limitless possibilities. In neo-impressionism, the visual phenomena of the external world are, in themselves, meaningless: the only worthy thing is feeling, as such. In stereometric construction, the visual phenomena of the objective world are, in themselves, empty: the only worthy thing is feeling, as such. In post-impressionistic art, the visual phenomena of the physical world are, in themselves, empty: the significant thing is feeling, as such.
In this doodle Sol Aris demonstrates clearly the relationship between spring and autumn. A perpetually evolving glammerdümmering, the scale and openness of which never changes, is sometimes in a different form by the essential fact of the viewer.
Sol Aris has not completed the title of this prototype. The arena of contrasting tone and hue of Sol Aris's other works are clearly visible here, but completely altered. The doodle shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. Paradoxically, we see the diagonal axis representing power and authority undulate towards the centre of the prototype, suggesting inconstancy.
``What does it all mean? I have little idea... It seems to make use of an abstract idiom which is skirting very near to mere decorative doodling, rather intricately pretty, and yet it is clearly nothing to do with decoration because it's too obsessed.''
[Tate Gallery Guide, 1990, p.232]