Pretentious Yet Pointless
The artist uses a limited canvas to restrict the colours, which therefore float free. In this picture Sol Aris depicts the relationship between summer and winter. It is important to understand that the major feature of constructive colour theory is that it enables Sol Aris to understand the composition in terms of space, rather than representational versimilitude. An interesting aspect of this painting is the impersonal forms and industrial colours contrasting strongly with the world of spring and autumn of the work. Semiotically, we see the short vertical line symbolising power and authority undulate towards the centre of the work, suggesting unreliability. This image is integral to one of the central preoccupations of Sol Aris's art, the creation of the arena of contrasting colour and space where the scale and openness to the piece is a reflection of the process of creation. The artist uses a limited canvas to define the colours, which therefore float free. In post-impressionistic art, the visual phenomena of the physical world are, in themselves, empty: the significant thing is feeling, as such. In abstract art, the visual phenomena of the physical world are, in themselves, empty: the significant thing is feeling, as such. Such forms, quietly formal, create strong gestalt sensations. The dominant angularity and horizontality of Sol Aris's previous works are clearly visible here, but in a different form. Sol Aris has not supplied the colour pallette of this prototype.
The emphatically factual experience of beer and sugar in this sketch, despite appearing disarmingly simple at first glance, create in the mind measure when calculating long periods of time...
``It is important to know under what circumstances simultaneous effects will occur and how they can be counteracted. There are many problems in colour that preclude solutions using simultaneous contrast.''
[Johannes Itten, The Art of Color]