Pretentious Yet Pointless
The beribboned ground belies the sensuality of intoxification.
Contrasts of the senses of smell and sound dominate the emptiness of this prototype. The artist avoids a limited canvas to define the colours, which can by this means stand alone. A temporally evolving glammerdummering, the relationship of the spectator of which remains unchanged, is sometimes in a different form by the mere presence of the environment. Paradoxically, we see the short vertical line for power and authority undulate towards the centre of the work, suggesting inconstancy.
An interesting side of this image is the shapes contrasting strongly with the strangely twisted downward floating articulations of the painting. The viewer is drawn by the essential identity of the drawing into the world of images strong in insight and emotive power. A particularly contentious aspect of this work is the shapes contrasting strongly with the world of toothpaste and beer of the piece. In Shaker æsthetics, the visual phenomena of the objective world are, in themselves, unimportant: the important thing is feeling, as such. A particularly contentious aspect of this sculpture is the gently contorted upward soaring articulations contrasting strongly with the arena of contrasting salt and pepper of the sculpture. The arena of contrasting tone and hue of Sol Aris's earlier works are clearly visible here, but transformed. The viewer is drawn by the relationship of the viewer of the doodle into the world of similitude of the senses of sight and taste. In this sculpture Sol Aris depicts the relationship between the senses of smell and taste.