Pretentious Yet Pointless
It is useful to note that the major feature of post-impressionistic art is that it encourages the artist to understand form in terms of area, rather than mass. The spectator is drawn by the essential identity of the work into the world of single-axis asymmetric soft, closed signs with inner and outer crossings. Sol Aris has not completed the colour pallette of this work. The embellished figure belies the sensuality of extinction. In this image Sol Aris delineates the relationship between sugar and wine. The carving shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. A central underlying meaning of this sculpture is the impersonal forms and industrial colours contrasting strongly with the arena of contrasting beer and lager of the prototype.
It is important to understand that the idea behind the Suprematist school is that it enables Sol Aris to define form in terms of area, rather than representational versimilitude.
In this piece Sol Aris shows the relationship between pepper and honey.
Semiotically, we see the diagonal axis for power and authority curve back and forth, suggesting inconstancy. The arena of contrasting salt and pepper of Sol Aris's previous works are still present, but in a different form. This striking piece is integral to one of the central preoccupations of Sol Aris's art, the creation of the arena of contrasting tone and hue where the relationship of the viewer to the piece is the essential contrast between pattern and texture. In this sculpture Sol Aris shows the relationship between dark and light. A notable feature of this particular picture is that it is not completely abstract. Unexpectedly, we see the short vertical line for power and authority curve back and forth, suggesting unreliability. An important part of this particular image is that it is the eternal or spiritual dimension and its endless possibilities. In this picture Sol Aris demonstrates clearly the relationship between pepper and happiness. A constantly changing glammerdümmering, the relationship of the spectator of which never changes, is sometimes in a different form by the mere presence of the outer surface. In this doodle Sol Aris shows the relationship between light and shade. In stereometric construction, the visual phenomena of the physical world are, in themselves, meaningless: the important thing is feeling, as such. The spectator is drawn by the extraordinarily refined aesthetic sensibility of the drawing into the world of duty, responsibility, discipline and work. The picture shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. The spectator is drawn by the extraordinarily refined aesthetic sensibility of the piece into the world of epistemology of space and place.
The doodle shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. The dominant angularity and horizontality in this painting, despite appearing disarmingly simple at first glance, create in the mind colour and space... A particularly contentious aspect of this particular work is that it is the eternal dimension and its limitless possibilities. Such forms, both serene and poetic, create disarmingly strong shivers of emotion.
``Paradoxically, this work, which has such an assertive and fascinating physical presence, simultaneously undermines its physical reality by the way in which it reflects, and thus elides or blends with, its surroundings.''
[Tate Gallery Guide, 1990, p.262]