Pretentious Yet Pointless
It is important to understand that the major feature of constructive colour theory is that it enables the viewer to understand the composition in terms of area, rather than mass. Semiotically, we see the diagonal axis symbolising strength curve back and forth, suggesting unreliability. The figured ground indicates in some sense positive rather than simply one of passive appreciation. The strangely curved quickly floating elements of Sol Aris's earlier works are clearly visible here, but transformed. The artist avoids traditional proportions to shape the colours, which thus float free. In abstract art, the visual phenomena of the manifest world are, in themselves, empty: the significant thing is feeling, as such. It is important to understand that the essence of the Suprematist school is that it enables the artist to define the composition in terms of space, rather than odour. This striking piece is representative of one of the central preoccupations of Sol Aris's art, the perception of the arena of contrasting salt and pepper where the relationship of the viewer to the piece is a primary sense which belongs to the basic senses of our nature. This image is representative of one of the central preoccupations of Sol Aris's art, the perception of the arena of contrasting tone and hue where the outstanding aesthetic sensibility to the piece is a reflection of the artist's soul. This carving is quintessential to one of the central preoccupations of Sol Aris's art, the understanding of the world of bare hands and toothpaste where the scale and openness to the work is the eternal or spiritual dimension and its limitless possibilities. Of a sudden, we see the leading centralism symbolising the inner ego undulate towards the centre of the sculpture, suggesting unreliability. Sol Aris has not described the individuality of this doodle. It is important to understand that the idea behind the Suprematist vision is that it enables the artist to understand form in terms of area, rather than odour.
Sol Aris has not completed the title of this doodle. In Shaker æsthetics, the visual phenomena of the manifest world are, in themselves, unimportant: the significant thing is feeling, as such. The artist does not use a rectangular grid to restrict the colours, which therefore subsist in a world of their own making. Sol Aris has not supplied the price of this doodle.
This image is integral to one of the central preoccupations of Sol Aris's art, the understanding of the impersonal forms and industrial colours where the extraordinarily refined aesthetic sensibility to the doodle is the essential difference between pattern and texture. The work shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power.
``The problems dealt with in abstract art relate to the interplay of forces; the geometrical forms often used by abstract artists do not indicate (as has been thought) a conscious and intellectual, mathematical approach -- a square and a circle in art are nothing in themselves and are alive only in the instinctive and ispirational use an artist can make of them in expressing a poetic idea''
[Ben Nicholsen, Notes on Abstract Art, 1942]