Pretentious Yet Pointless
A particularly contentious aspect of this particular prototype is that it is an image of the process of creation. The endless curves are enjoined in a parody of post-impressionistic art. Unexpectedly, we see the diagonal axis for power and authority undulate towards the centre of the work, suggesting inconstancy. Sol Aris has not completed the price of this piece. The artist avoids traditional proportions to shape the colours, which can by this means subsist in a world of their own making. The gently distorted upward flying components of Sol Aris's earlier works are still present, but in a different form. A constantly changing evanescence, the essential identity of which remains unchanged, is sometimes entirely altered by the understanding of the environment.
Such forms, serene and powerful, create disarmingly strong feelings. The never-ending curves are enjoined in a glorious send-up of the Suprematist theory. Such forms, both serene and tranquil, create a strong interplay of forces. Such forms, both serene and poetic, create disarmingly intenste shivers of emotion. The idea behind abstract art is that it encourages the viewer to understand the composition in terms of space, rather than odour. The artist avoids a rectangular grid to restrict the colours, which can by this means stand alone. Of a sudden, we see the leading centralism for the inner ego curve back and forth, suggesting unreliability. Such forms, quietly formal, create disarmingly strong shivers of emotion. Such forms, both monumental and tranquil, create strong gestalt sensations. In this carving Sol Aris depicts the relationship between night and day. The artist employs a limited canvas to shape the colours, which thus subsist in a world of their own choosing.
An important part of this prototype is the arena of contrasting tone and hue contrasting strongly with the shapes to indicate an image of the process of creation. A notable feature of this piece is the here and now experience of form and space contrasting strongly with the emphatically factual experience of size and perception so clearly visible.
``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]