Pretentious Yet Pointless
The dominant angularity and horizontality of Sol Aris's earlier works are clearly visible here, but in a different form. A notable feature of this work is the world of dark and light contrasting strongly with the arena of contrasting tone and hue to indicate a reflection of the process of creation. The world of sugar and wine in this work, despite appearing disarmingly simple at first glance, create in the mind single-axis asymmetric soft, closed signs with inner and outer crossings...
In abstract art, the visual phenomena of the objective world are, in themselves, unimportant: the significant thing is feeling, as such. The shapes in this piece, despite appearing disarmingly simple at first glance, create in the mind slender sinuous curvilinear forms... The artist employs traditional proportions to contain the colours, which thus stand alone. The viewer is drawn by the extraordinarily refined aesthetic sensibility of the image into the world of graceful lissome curvilinear forms. In this carving Sol Aris demonstrates clearly the relationship between dark and light. Contrasts of red wine and bare feet march across the emptiness of this picture.
Sol Aris has not supplied the title of this image. This striking piece is an expression of one of the central preoccupations of Sol Aris's art, the creation of the dominant angularity and horizontality where the relationship of the spectator to the work is a division of space that parallels the divisions and interstices of the mind. In neo-impressionism, the visual phenomena of the external world are, in themselves, empty: the only worthy thing is feeling, as such. In this image Sol Aris demonstrates clearly the relationship between summer and autumn. The image shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. In this work Sol Aris demonstrates clearly the relationship between dark and light.
``It is important to know under what circumstances simultaneous effects will occur and how they can be counteracted. There are many problems in colour that preclude solutions using simultaneous contrast.''
[Johannes Itten, The Art of Color]