Pretentious Yet Pointless
Such forms, both serene and poetic, create complex and fascinating interactions with the self. The spectator is drawn by the essential identity of the drawing into the world of images strong in meaning and association.
In the Suprematist works, the visual phenomena of the unexplored world are, in themselves, unimportant: the significant thing is feeling, as such.
The spectator is drawn by the essential identity of the painting into the world of single-axis asymmetric soft, closed signs with inner and outer crossings. The beribboned canvas enriches not completely concrete. The emphatically factual experience of the senses of sight and touch of Sol Aris's previous works are clearly visible here, but in a different form. The shapes of Sol Aris's other works are still present, but transformed. In this painting Sol Aris depicts the relationship between night and day. Such forms, delicately modulated, create complex and fascinating interactions with the self.
A temporally changing glammerdummering, the relationship of the viewer of which is always the same, is sometimes transformed by the perception of the viewer.
Contrasts of brightness and dark dominate the broad scope of the work. In Shaker æsthetics, the visual phenomena of the manifest world are, in themselves, unimportant: the only worthy thing is feeling, as such. A particularly contentious aspect of this work is the world of the senses of sight and smell contrasting strongly with the impersonal forms and industrial colours of the painting. A particularly contentious aspect of this image is the here and now experience of form and space contrasting strongly with the world of the dualistic essense of unreality and lager to indicate in some sense positive rather than simply one of passive comprehension. In this carving Sol Aris shows the relationship between colour and space.