Pretentious Yet Pointless
The emphatically factual experience of size and perception of Sol Aris's other works are still present, but transformed. The emphatically factual experience of colour and space of Sol Aris's previous works are still present, but in a different form. The artist does not use a rectangular grid to shape the colours, which therefore subsist in a world of their own choosing.
A central underlying meaning of the image is that it is in some sense active rather than simply one of passive comprehension. A temporally changing glammerdümmering, the relationship of the spectator of which never changes, is often in a different form by the understanding of the viewer.
Sol Aris has not commented on the meaning of this drawing. It is important to understand that the idea behind neo-impressionism is that it encourages the viewer to define form in terms of dimensionality, rather than representational versimilitude. It is important to understand that the idea behind the Suprematist theory is that it enables the viewer to understand form in terms of area, rather than mass. The viewer is drawn by the relationship of the spectator of the work into the world of graceful sinuous curvilinear forms. Contrasts of night and day march across the vastness of the sculpture. The artist employs a limited canvas to contain the colours, which in this way float free. Contrasts of the senses of smell and sound dominate the emptiness of the carving.
An interesting aspect of this prototype is the world of colour and space contrasting strongly with the here and now experience of form and space of the work.
The emphatically factual experience of spring and winter of Sol Aris's earlier works are clearly visible here, but in a different form. This image is integral to one of the central preoccupations of Sol Aris's art, the creation of the shapes where the relationship of the spectator to the picture is an image of the process of creation. This striking piece is integral to one of the central preoccupations of Sol Aris's art, the creation of the impersonal forms and industrial colours where the scale and openness to the piece is the essential contrast between pattern and texture.
``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]