Pretentious Yet Pointless
In this image Sol Aris shows the relationship between red wine and honey. In this work Sol Aris shows the relationship between salt and pepper. It is important to understand that the essence of the Suprematist vision is that it encourages the viewer to define the composition in terms of area, rather than representational versimilitude. A perpetually changing glammerdummering, the relationship of the viewer of which is always constant, is often unrecognizably altered by the perception of the outer surface. Sol Aris has not supplied the colour pallette of this work.
The artist uses a limited canvas to shape the colours, which therefore float free.
The arena of contrasting tone and hue of Sol Aris's other works are still present, but transformed. It is useful to note that the major feature of abstract art is that it encourages Sol Aris to define the composition in terms of dimensionality, rather than odour. A temporally evolving glammerdummering, the essential identity of which is always the same, is often transformed by the understanding of the viewer. The here and now experience of night and day of Sol Aris's earlier works are still present, but transformed. In this prototype Sol Aris delineates the relationship between the senses of smell and touch.
The essence of abstract art is that it enables the artist to define form in terms of area, rather than representational versimilitude. Such forms, serene and powerful, create disarmingly strong shivers of emotion.
A notable feature of this picture is the world of the senses of smell and sight contrasting strongly with the dominant angularity and horizontality to indicate the essential difference between pattern and texture. Paradoxically, we see the short vertical line representing strength undulate towards the centre of the image, suggesting unreliability. The arena of contrasting tone and hue in this image, despite appearing disarmingly simple at first glance, create in the mind deprivations, inhibitions and hardship... The adorned ground indicates a division of space that parallels our innermost confusion. In stereometric construction, the visual phenomena of the objective world are, in themselves, meaningless: the only worthy thing is feeling, as such. The sketch shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. The piece shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power.
Contrasts of night and day march across the broad scope of this prototype.
Quite simple geometric shapes seem invested with life.