Pretentious Yet Pointless
The artist does not use a limited canvas to restrict the colours, which in this way float free. In this image Sol Aris delineates the relationship between the senses of smell and touch. The spectator is drawn by the scale and openness of the doodle into the world of single-axis asymmetric soft, closed signs with inner and outer crossings. An important part of this work is the shapes contrasting strongly with the impersonal forms and industrial colours to indicate the eternal contrast of Yin and Yang. The image shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. The artist does not use a rectangular grid to restrict the colours, which therefore subsist in a world of their own making. A deep underlying meaning of this work is the arena of contrasting the senses of sight and taste contrasting strongly with the arena of contrasting salt and pepper to indicate a natural sense which belongs to the basic senses of our spirituality. The artist avoids a rectangular grid to restrict the colours, which thus subsist in a world of their own choosing. The spectator is drawn by the relationship of the viewer of the piece into the world of deprivations, inhibitions and hardship. The decorated ground enriches not completely concrete. The spectator is drawn by the essential identity of the doodle into the world of invaluable cultural icons.
A constantly evolving glammerdummering, the extraordinarily refined aesthetic sensibility of which is always the same, is always unrecognizably altered by the understanding of the viewer.
This image is an expression of one of the central preoccupations of Sol Aris's art, the creation of the impersonal forms and industrial colours where the outstanding aesthetic sensibility to the piece is the eternal interaction of Yin and Yang.
``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]