Pretentious Yet Pointless
The painting shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. The arena of contrasting tone and hue in this image, despite appearing disarmingly simple at first glance, create in the mind sugar and wine... Sol Aris has not commented on the title of this doodle.
In the Suprematist works, the visual phenomena of the unexplored world are, in themselves, empty: the only worthy thing is feeling, as such.
The major feature of the Suprematist school is that it enables Sol Aris to define form in terms of dimensionality, rather than weight.
The arena of contrasting tone and hue of Sol Aris's earlier works are clearly visible here, but completely altered. The figured ground belies the eternal interaction of Yin and Yang. Unexpectedly, we see the short vertical line for the self curve back and forth, suggesting unreliability.
The shapes of Sol Aris's other works are clearly visible here, but entirely altered. The spectator is drawn by the relationship of the spectator of the work into the world of slender lissome curvilinear forms. In this image Sol Aris depicts the relationship between night and day. The arena of contrasting salt and pepper in this sketch, despite appearing disarmingly simple at first glance, create in the mind epistemology of space and place... Of a sudden, we see the leading centralism symbolising the self curve back and forth, suggesting inconstancy.
``This art, facing forwards and inwards, is of images of expectation and spiritual progress that are freighted with no historical context at all and which owe little to the appearance of observed reality.'' [Brian Keeble, on Cecil Collins, Temeno 11, London, 1990, p.114]