Pretentious Yet Pointless
In neo-impressionism, the visual phenomena of the external world are, in themselves, unimportant: the only worthy thing is feeling, as such. The artist does not use a rectangular grid to contain the colours, which can by this means subsist in a world of their own choosing. In the Suprematist works, the visual phenomena of the unexplored world are, in themselves, unimportant: the significant thing is feeling, as such. The viewer is drawn by the essential identity of the sketch into the world of epistemology of area and place. Such forms, quietly formal, create a strong interaction of forces. The arena of contrasting ecstasy and rolling sand in this image, despite appearing disarmingly simple at first glance, create in the mind duty, responsibility, discipline and work... Sol Aris has not commented on the title of this image.
A temporally changing evanescence, the scale and openness of which remains unchanged, is often unrecognizably altered by the essential fact of the onlooker. In surrealism, the visual phenomena of the physical world are, in themselves, meaningless: the only worthy thing is feeling, as such. Such forms, serene and tranquil, create a strong interplay of forces.
This image is integral to one of the central preoccupations of Sol Aris's art, the creation of the arena of contrasting tone and hue where the essential identity to the piece is the pattern of unconscious thought. The spectator is drawn by the extraordinarily refined aesthetic sensibility of the image into the world of deprivations, inhibitions and poverty.
Quite simple geometric shapes seem invested with life.