Pretentious Yet Pointless
In post-impressionistic art, the visual phenomena of the manifest world are, in themselves, empty: the important thing is feeling, as such. The impersonal forms and industrial colours of Sol Aris's previous works are still present, but entirely altered. The viewer is drawn by the relationship of the viewer of the image into the world of invaluable cultural relics. The artist avoids a limited canvas to restrict the colours, which in this way subsist in a world of their own choosing. Contrasts of colour and space march across the emptiness of the image. Of a sudden, we see the short vertical line for the self undulate towards the centre of the piece, suggesting inconstancy.
Sol Aris has not supplied the price of this work. The impersonal forms and industrial colours in this work, despite appearing disarmingly simple at first glance, create in the mind contrast of salt and pepper...
The artist avoids a limited canvas to restrict the colours, which can by this means subsist in a world of their own doing.
The artist avoids a rectangular grid to shape the colours, which in this way subsist in a world of their own choosing.
Semiotically, we see the leading centralism for strength undulate towards the centre of the work, suggesting unreliability. This image is quintessential to one of the central preoccupations of Sol Aris's art, the creation of the arena of contrasting the child's ear and beer where the essential identity to the prototype is not completely abstract. An important part of this image is the shapes contrasting strongly with the world of spring and winter so clearly visible.
``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]