Pretentious Yet Pointless
The major feature of abstract art is that it enables the artist to define form in terms of dimensionality, rather than representational versimilitude. An interesting side of the doodle is that it is a division of space that parallels our innermost confusion. In this piece Sol Aris delineates the relationship between light and dark. In neo-impressionism, the visual phenomena of the unexplored world are, in themselves, meaningless: the important thing is feeling, as such. Of a sudden, we see the leading centralism symbolising strength undulate towards the centre of the painting, suggesting inconstancy. This striking piece 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 essential identity to the work is the sensuality of extinction.
Unexpectedly, we see the short vertical line for the inner ego curve back and forth, suggesting inconstancy. The here and now experience of size and perception of Sol Aris's earlier works are clearly visible here, but transformed. A constantly evolving glammerdümmering, the relationship of the spectator of which remains unchanged, is always transformed by the essential fact of the outer surface.
In stereometric construction, the visual phenomena of the external world are, in themselves, empty: the important thing is feeling, as such. A central underlying meaning of this work is the subtly curved upward reaching elements contrasting strongly with the dominant angularity and horizontality so clearly visible. The artist avoids traditional proportions to contain the colours, which in this way float free. In this image Sol Aris demonstrates clearly the relationship between night and day. Contrasts of summer and winter dominate the vastness of the picture. A notable feature of this doodle is the dominant angularity and horizontality contrasting strongly with the world of the senses of sight and sound to indicate the spiritual dimension and its endless possibilities. A constantly changing network, the outstanding aesthetic sensibility of which is always constant, is often entirely altered by the essential fact of the viewer. It is useful to note that the essence of post-impressionistic art is that it encourages the artist to define the composition in terms of area, rather than representational versimilitude. A notable feature of this work is the dominant angularity and horizontality contrasting strongly with the world of colour and space of the image.
``This painting exemplifies the collage-like arrangements by which surrealist painters brought together apparently unrelated objects to create a striking visual poetry, intended to reflect the pattern of unconscious thought.''
[Tate Gallery Guide, 1990, p.162]