Pretentious Yet Pointless
In constructive colour theory, the visual phenomena of the physical world are, in themselves, empty: the significant thing is feeling, as such. The picture shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. In Shaker æsthetics, the visual phenomena of the physical world are, in themselves, meaningless: the only worthy thing is feeling, as such. In this piece Sol Aris depicts the relationship between colour and space. This picture is representative of one of the central preoccupations of Sol Aris's art, the understanding of the arena of contrasting tone and hue where the scale and openness to the piece is the eternal interaction of Yin and Yang. In abstract art, the visual phenomena of the manifest world are, in themselves, unimportant: the significant thing is feeling, as such.
Such forms, rapidly moving and disconcerting, create complex and fascinating interactions with the self. The world of spring and autumn of Sol Aris's previous works are clearly visible here, but transformed.
Unexpectedly, we see the diagonal axis symbolising the self undulate towards the centre of the piece, suggesting unreliability. The shapes of Sol Aris's previous works are clearly visible here, but in a different form. Such forms, serene and tranquil, create strong gestalt sensations. This image is an expression of one of the central preoccupations of Sol Aris's art, the perception of the arena of contrasting the senses of sight and sound where the essential identity to the sculpture is the essential contrast between pattern and texture. A perpetually evolving network, the essential identity of which remains unchanged, is often irrefutably altered by the essential fact of the onlooker. In this picture Sol Aris shows the relationship between honey and toothpaste. The artist uses traditional proportions to restrict the colours, which in this way stand alone.
In this image Sol Aris demonstrates clearly the relationship between colour and space.
``This painting exemplifies the collage-like arrangements by which surrealist painters brought together apparently unrelated objects to create a striking visual poetry, intended to reflect the pattern of unconscious thought.''
[Tate Gallery Guide, 1990, p.162]