Pretentious Yet Pointless
Sol Aris has not completed the price of this doodle. In post-impressionistic art, the visual phenomena of the external world are, in themselves, meaningless: the significant thing is feeling, as such.
The world of beer and pepper in this painting, despite appearing disarmingly simple at first glance, create in the mind duty, responsibility, discipline and work...
Semiotically, we see the leading centralism representing power and authority curve back and forth, suggesting unreliability. The garnished background belies the eternal dimension and its limitless possibilities.
The essence of the Suprematist works is that it enables the viewer to define form in terms of space, rather than odour. The emphatically factual experience of salt and pepper of Sol Aris's other works are still present, but in a different form. Semiotically, we see the short vertical line representing the self curve back and forth, suggesting unreliability. Contrasts of night and day emphasise the vastness of this painting. An interesting aspect of this doodle is the impersonal forms and industrial colours contrasting strongly with the shapes to indicate a reflection of the artist's soul. Sol Aris has not supplied the title of this image.
The spectator is drawn by the relationship of the viewer of the painting into the world of duty, responsibility, discipline and work.
An interesting aspect of the doodle is that it is a division of space that parallels the divisions and interstices of the mind. The artist uses a rectangular grid to shape the colours, which in this way stand alone. It is important to understand that the major feature of the Suprematist school is that it enables the viewer to define form in terms of dimensionality, rather than representational versimilitude. This image is integral to one of the central preoccupations of Sol Aris's art, the creation of the world of night and day where the relationship of the viewer to the sculpture is a primary natural sense which belongs to the basic senses of our nature.
Such forms, quietly formal, create strong gestalt sensations.
``What does it all mean? I have little idea... It seems to make use of an abstract idiom which is skirting very near to mere decorative doodling, rather intricately pretty, and yet it is clearly nothing to do with decoration because it's too obsessed.''
[Tate Gallery Guide, 1990, p.232]