Pretentious Yet Pointless
The receding curves are forever engraved in a glorious send-up of celebration. An important part of this painting is the arena of contrasting tone and hue contrasting strongly with the arena of contrasting spring and autumn so clearly visible. This image is representative of one of the central preoccupations of Sol Aris's art, the perception of the emphatically factual experience of form and space where the relationship of the viewer to the work is a primary sense which belongs to the basic senses of our physiology. A particularly contentious aspect of this particular sculpture is that it is the essential distinction between pattern and texture. The artist uses traditional proportions to contain the colours, which thus stand alone.
It is important to understand that the essence of the Suprematist school is that it encourages the artist to define the composition in terms of space, rather than representational versimilitude. The artist employs a rectangular grid to restrict the colours, which can by this means float free. The garnished canvas enriches a division of space that parallels the divisions and interstices of the mind.
A constantly changing network, the scale and openness of which remains unchanged, is always in a different form by the understanding of the viewer. It is important to understand that the idea behind stereometric construction is that it enables the viewer to understand the composition in terms of dimensionality, rather than representational versimilitude. Contrasts of colour and space march across the vastness of this painting.