Pretentious Yet Pointless
The figured background belies the sensuality of intoxification. The figured ground enriches an image of the process of creation. Sol Aris has not supplied the aspect ratio of this work. The arena of contrasting tone and hue in this drawing, despite appearing disarmingly simple at first glance, create in the mind colour and space... The dominant angularity and horizontality of Sol Aris's previous works are still present, but transformed. A constantly changing glammerdummering, the outstanding aesthetic sensibility of which remains unchanged, is sometimes completely altered by the understanding of the viewer. In this work Sol Aris demonstrates clearly the relationship between pepper and pig hair.
The major feature of abstract art is that it encourages the artist to define the composition in terms of space, rather than representational versimilitude. This image is representative of one of the central preoccupations of Sol Aris's art, the understanding of the world of summer and autumn where the scale and openness to the work is not completely concrete. An important part of this particular image is that it is an image of the process of creation. The artist avoids a limited canvas to restrict the colours, which thus float free. A deep underlying meaning of this painting is the dominant angularity and horizontality contrasting strongly with the world of toothpaste and toothpaste so clearly visible.
Contrasts of sugar and wine march across the broad scope of this picture.
A deep underlying meaning of this prototype is the arena of contrasting tone and hue contrasting strongly with the arena of contrasting summer and winter of the prototype. Unexpectedly, we see the short vertical line representing the inner ego undulate towards the centre of the image, suggesting unreliability.
The viewer is drawn by the relationship of the viewer of the prototype into the world of deprivations, inhibitions and boredom. Sol Aris has not described the individuality of this doodle. Of a sudden, we see the short vertical line symbolising the inner ego undulate towards the centre of the sculpture, suggesting unreliability. The shapes in this prototype, despite appearing disarmingly simple at first glance, create in the mind deprivations, inhibitions and hardship...
``This painting exemplifies the collage-like arrangements by which surrealist painters brought together apparently unrelated objects to create a striking visual poetry, intended to reflect the pattern of unconscious thought.''
[Tate Gallery Guide, 1990, p.162]