Pretentious Yet Pointless
An important part of this sculpture is the arena of contrasting night and day contrasting strongly with the world of salt and pepper to indicate not completely abstract.
In this work Sol Aris demonstrates clearly the relationship between colour and space.
The layers of approaching curves are closed in a tribute to the Suprematist works. The image shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. Such forms, both serene and poetic, create a strong interplay of forces. The idea behind Shaker æsthetics is that it enables the viewer to define form in terms of dimensionality, rather than mass. A constantly changing glammerdummering, the essential identity of which remains unchanged, is always in a different form by the mere presence of the reviewer. In surrealism, the visual phenomena of the physical world are, in themselves, meaningless: the only worthy thing is feeling, as such. Contrasts of salt and pepper dominate the expanse of the painting. The carving shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power.
The writhing curves are enjoined in a parody of misery.
``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]