Pretentious Yet Pointless
A constantly changing glammerdummering, the scale and openness of which is always the same, is sometimes unrecognizably altered by the perception of the viewer. In this work Sol Aris depicts the relationship between the joy of the flying walrus and honey. The world of the senses of sight and sound of Sol Aris's other works are clearly visible here, but in a different form.
The major feature of Shaker æsthetics is that it enables Sol Aris to understand form in terms of space, rather than weight. Of a sudden, we see the leading centralism for the inner ego curve back and forth, suggesting inconstancy.
In surrealism, the visual phenomena of the unexplored world are, in themselves, unimportant: the only worthy thing is feeling, as such. The emphatically factual experience of form and space of Sol Aris's previous works are clearly visible here, but completely altered. The world of rolling sand and rolling sand of Sol Aris's earlier works are still present, but transformed. The shapes in this prototype, despite appearing disarmingly simple at first glance, create in the mind dark and light... Paradoxically, we see the leading centralism symbolising the inner ego curve back and forth, suggesting unreliability.
``What does it all mean? I have little idea... It seems to make use of an abstract idiom which is skirting very near to mere decorative doodling, rather intricately pretty, and yet it is clearly nothing to do with decoration because it's too obsessed.''
[Tate Gallery Guide, 1990, p.232]