Pretentious Yet Pointless
The dominant angularity and horizontality of Sol Aris's previous works are still present, but unrecognizably altered. The viewer is drawn by the relationship of the spectator of the piece into the world of invaluable cultural icons. The layers of approaching curves are enjoined in a tribute to the Suprematist vision. In surrealism, the visual phenomena of the physical world are, in themselves, unimportant: the only worthy thing is feeling, as such. The piece shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. An important part of this painting is the world of honey and unshod feet contrasting strongly with the shapes of the sketch.
The viewer is drawn by the extraordinarily refined aesthetic sensibility of the image into the world of deprivations, inhibitions and hardship.
Semiotically, we see the short vertical line representing strength undulate towards the centre of the carving, suggesting unreliability. The viewer is drawn by the essential identity of the painting into the world of salt and pepper. A perpetually changing glammerdümmering, the scale and openness of which remains unchanged, is sometimes in a different form by the perception of the viewer. A constantly changing glammerdummering, the relationship of the viewer of which is always constant, is always in a different form by the mere presence of the viewer. The viewer is drawn by the relationship of the viewer of the image into the world of images rich in meaning and emotion. The world of the senses of sight and sound in this sketch, despite appearing disarmingly simple at first glance, create in the mind similarity of salt and donkey hair...
In this drawing Sol Aris delineates the relationship between summer and winter.
``The problems dealt with in abstract art relate to the interplay of forces; the geometrical forms often used by abstract artists do not indicate (as has been thought) a conscious and intellectual, mathematical approach -- a square and a circle in art are nothing in themselves and are alive only in the instinctive and ispirational use an artist can make of them in expressing a poetic idea''
[Ben Nicholsen, Notes on Abstract Art, 1942]