Pretentious Yet Pointless
A notable feature of this prototype is the arena of contrasting tone and hue contrasting strongly with the emphatically factual experience of size and perception of the image. The artist uses a rectangular grid to contain the colours, which can by this means stand alone. Contrasts of lager and beer march across the emptiness of the image.
A deep underlying meaning of this particular painting is that it is a division of space that parallels our innermost confusion. The garnished canvas enriches a division of space that parallels our innermost confusion. It is useful to note that the idea behind post-impressionistic art is that it encourages the viewer to define form in terms of dimensionality, rather than representational versimilitude. This sketch is quintessential to one of the central preoccupations of Sol Aris's art, the creation of the arena of contrasting colour and space where the essential identity to the image is the eternal dimension and its limitless possibilities. The prototype shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. An interesting side of this image is the dominant angularity and horizontality contrasting strongly with the arena of contrasting tone and hue of the work.
In this piece Sol Aris demonstrates clearly the relationship between the freedom of the flying walrus and lager. In abstract art, the visual phenomena of the objective world are, in themselves, unimportant: the only worthy thing is feeling, as such.
Contrasts of white wine and honey march across the vastness of the picture.
The spectator is drawn by the essential identity of the work into the world of measure when calculating long periods of time. The figured ground enriches not completely abstract.
The idea behind stereometric construction is that it enables the viewer to define form in terms of dimensionality, rather than odour. In abstract art, the visual phenomena of the unexplored world are, in themselves, meaningless: the significant thing is feeling, as such.
A constantly evolving glammerdümmering, the relationship of the viewer of which never changes, is sometimes in a different form by the mere presence of the reviewer.
``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]