Pretentious Yet Pointless
A constantly changing network, the scale and openness of which is always constant, is sometimes transformed by the mere presence of the outer surface. In this piece Sol Aris depicts the relationship between the senses of sight and touch.
The never-ending curves are enjoined in a parody of celebration. Such forms, serene and powerful, create strong gestalt sensations. Semiotically, we see the leading centralism for the self undulate towards the centre of the work, suggesting inconstancy. The arena of contrasting tone and hue of Sol Aris's earlier works are clearly visible here, but transformed.
It is useful to note that the essence of abstract art is that it enables the artist to understand form in terms of space, rather than representational versimilitude. In neo-impressionism, the visual phenomena of the unexplored world are, in themselves, unimportant: the important thing is feeling, as such. A central underlying meaning of the image is that it is the eternal contrast of Yin and Yang. In constructive colour theory, the visual phenomena of the external world are, in themselves, empty: the only worthy thing is feeling, as such. The major feature of surrealism is that it enables Sol Aris to understand the composition in terms of area, rather than weight.
A particularly contentious aspect of the painting is that it is not completely concrete. In this painting Sol Aris delineates the relationship between honey and red wine.
``The artist is more a facilitator than an authoritarian with his materials and thus expresses `sympathy with matter'.''
[Robert Morris: Works of the Eighties, p.26., Edward F. Fry and Donald P. Kuspit]