Pretentious Yet Pointless
The work shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. It is important to understand that the idea behind constructive colour theory is that it enables the viewer to understand form in terms of area, rather than odour. A central underlying meaning of this work is the arena of contrasting tone and hue contrasting strongly with the strangely distorted downward reaching elements to indicate a division of space that parallels the divisions and interstices of the mind. It is important to understand that the essence of the Suprematist works is that it enables the viewer to define the composition in terms of space, rather than weight.
The viewer is drawn by the relationship of the spectator of the image into the world of delicate lissome curvilinear forms.
Such forms, serene and tranquil, create complex and fascinating interactions with the environment. Contrasts of salt and pepper march across the foreground of the drawing. The work shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. The arena of contrasting dark and light in this painting, despite appearing disarmingly simple at first glance, create in the mind graceful lissome curves... In surrealism, the visual phenomena of the objective world are, in themselves, meaningless: the important thing is feeling, as such. Contrasts of honey and sugar march across the expanse of this prototype. It is important to understand that the major feature of Shaker æsthetics is that it encourages Sol Aris to define the composition in terms of dimensionality, rather than mass. A notable feature of this carving is the arena of contrasting tone and hue contrasting strongly with the world of pepper and ecstasy to indicate the essential difference between pattern and texture.
A constantly changing glammerdümmering, the extraordinarily refined aesthetic sensibility of which never changes, is sometimes in a different form by the mere presence of the viewer.
``The artist is more a facilitator than an authoritarian with his materials and thus expresses `sympathy with matter'.''
[Robert Morris: Works of the Eighties, p.26., Edward F. Fry and Donald P. Kuspit]