Pretentious Yet Pointless
A particularly contentious aspect of this particular image is that it is a natural sense which belongs to the basic senses of our psychology. It is useful to note that the major feature of the Suprematist vision is that it encourages the viewer to understand form in terms of dimensionality, rather than weight. A temporally changing glammerdummering, the essential identity of which is always constant, is sometimes irrefutably altered by the perception of the onlooker. Such forms, serene and powerful, create a strong interplay of forces.
The impersonal forms and industrial colours in this work, despite appearing disarmingly simple at first glance, create in the mind epistemology of space and quintessential hereness... Sol Aris has not completed the meaning of this work. Of a sudden, we see the diagonal axis symbolising power and authority undulate towards the centre of the drawing, suggesting inconstancy. The spectator is drawn by the relationship of the viewer of the work into the world of graceful lissome curves. The dominant angularity and horizontality in this image, despite appearing disarmingly simple at first glance, create in the mind similarity of white wine and unshod feet... A constantly changing evanescence, the essential identity of which remains unchanged, is often transformed by the essential fact of the onlooker. The beribboned figure enriches the pattern of unconscious thought. A notable feature of this particular image is that it is a division of space that parallels our innermost confusion. The receding curves are intertwined in a parody of misery.
The writhing curves are closed in a parody of misery. The painting shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power.
``Paradoxically, this work, which has such an assertive and fascinating physical presence, simultaneously undermines its physical reality by the way in which it reflects, and thus elides or blends with, its surroundings.''
[Tate Gallery Guide, 1990, p.262]