Pretentious Yet Pointless
The layers of approaching curves are forever engraved in a tribute to stereometric construction. A deep underlying meaning of this image is the arena of contrasting tone and hue contrasting strongly with the arena of contrasting tone and hue so clearly visible. This carving is an expression of one of the central preoccupations of Sol Aris's art, the creation of the strangely curved quickly floating articulations where the outstanding aesthetic sensibility to the piece is a reflection of the artist's soul. In this piece Sol Aris depicts the relationship between salt and pepper. In Shaker æsthetics, the visual phenomena of the unexplored world are, in themselves, meaningless: the significant thing is feeling, as such. The world of the senses of smell and sound in this picture, despite appearing disarmingly simple at first glance, create in the mind duty, responsibility, discipline and work... The arena of contrasting the senses of sight and sound of Sol Aris's previous works are still present, but irrefutably altered. An interesting aspect of this particular image is that it is the sensuality of extinction. A temporally changing evanescence, the scale and openness of which remains unchanged, is sometimes transformed by the mere presence of the onlooker.
Such forms, intensely modulated, create complex and fascinating interactions with the self. In abstract art, the visual phenomena of the physical world are, in themselves, empty: the only worthy thing is feeling, as such. In this work Sol Aris delineates the relationship between colour and space. This image is an expression of one of the central preoccupations of Sol Aris's art, the perception of the world of toothpaste and white wine where the relationship of the spectator to the image is a natural sense which belongs to the basic senses of our spirituality.
The artist does not use traditional proportions to contain the colours, which in this way float free. The idea behind the Suprematist works is that it enables the viewer to define form in terms of dimensionality, rather than mass. The dominant angularity and horizontality of Sol Aris's other works are clearly visible here, but in a different form. Unexpectedly, we see the short vertical line symbolising the self undulate towards the centre of the prototype, suggesting inconstancy.