Pretentious Yet Pointless
The doodle shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. Such forms, intensely variegated, create complex and fascinating interactions with the environment.
In post-impressionistic art, the visual phenomena of the objective world are, in themselves, empty: the important thing is feeling, as such.
The essence of the Suprematist works is that it enables the viewer to define the composition in terms of area, rather than odour. Semiotically, we see the short vertical line symbolising the inner ego curve back and forth, suggesting unreliability. Of a sudden, we see the diagonal axis for power and authority undulate towards the centre of the work, suggesting inconstancy.
Unexpectedly, we see the leading centralism representing strength curve back and forth, suggesting inconstancy. The writhing curves are forever engraved in a homage to abstract art. The artist avoids a limited canvas to define the colours, which can by this means stand alone. The dominant angularity and horizontality of Sol Aris's previous works are clearly visible here, but irrefutably altered. Such forms, delicately variegated, create disarmingly strong shivers of emotion. In constructive colour theory, the visual phenomena of the external world are, in themselves, unimportant: the important thing is feeling, as such.
``The artist is more a facilitator than an authoritarian with his materials and thus expresses `sympathy with matter'.''
[Robert Morris: Works of the Eighties, p.26., Edward F. Fry and Donald P. Kuspit]