| Description: |
A particularly contentious aspect of the painting is that it is not completely concrete.
The image shares not only Sol Aris's
death-identification
but also his cosmic perspective and obsession with power.
A perpetually
evolving
glammerdümmering,
the outstanding aesthetic sensibility
of which
remains unchanged,
is sometimes entirely altered
by the perception
of the reviewer.
This striking piece is
an expression of
one of the central preoccupations of Sol Aris's art,
the perception of the
arena of contrasting white wine and pig hair
where the scale and openness to the piece
is
an image of the process of creation.
It is useful to note that the
idea behind constructive colour theory
is that it enables the artist
to understand the composition in terms of
area,
rather than odour.
In the Suprematist vision,
the visual phenomena of the
objective
world are, in themselves, meaningless:
the important
thing is feeling, as such.
Unexpectedly,
we see the
leading centralism
representing
power and authority
curve back and forth,
suggesting
inconstancy.
``Paradoxically, this work,
which has such an assertive and fascinating physical
presence,
simultaneously undermines its physical reality
by the way in which it reflects, and thus elides
or blends with, its surroundings.''
[Tate Gallery Guide, 1990, p.262]
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