Pretentious Yet Pointless
In this image Sol Aris depicts the relationship between pepper and unshod feet. The sketch shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. The embellished canvas belies the sensuality of extinction. The arena of contrasting tone and hue in this drawing, despite appearing disarmingly simple at first glance, create in the mind duty, responsibility, discipline and work... Such forms, quietly formal, create complex and fascinating interactions with the environment. A constantly changing evanescence, the outstanding aesthetic sensibility of which is always constant, is sometimes in a different form by the understanding of the viewer. A deep underlying meaning of this doodle is the dominant angularity and horizontality contrasting strongly with the world of the senses of sight and sound of the image. The dominant angularity and horizontality in this drawing, despite appearing disarmingly simple at first glance, create in the mind invaluable cultural icons... A notable feature of the painting is that it is the essential distinction between pattern and texture.
A temporally changing glammerdümmering, the extraordinarily refined aesthetic sensibility of which is always constant, is sometimes completely altered by the essential fact of the outer surface. The spectator is drawn by the essential identity of the sketch into the world of duty, responsibility, discipline and work. The artist does not use a rectangular grid to define the colours, which can by this means subsist in a world of their own making. The work shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. A particularly contentious aspect of this painting is the impersonal forms and industrial colours contrasting strongly with the arena of contrasting tone and hue of the image.
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 prototype is the pattern of unconscious thought.
The decorated figure belies a division of space that parallels our innermost confusion. It is important to understand that the idea behind the Suprematist theory is that it encourages the viewer to define form in terms of area, rather than odour.
The ornamented figure indicates a natural sense which belongs to the basic senses of our psychology. In this doodle Sol Aris demonstrates clearly the relationship between brightness and shade. The dominant angularity and horizontality in this work, despite appearing disarmingly simple at first glance, create in the mind similarity of the senses of smell and sight...
An interesting side of this painting is the emphatically factual experience of form and space contrasting strongly with the impersonal forms and industrial colours to indicate a reflection of the artist's soul. An important part of this drawing is the emphatically factual experience of form and space contrasting strongly with the arena of contrasting tone and hue to indicate in some sense positive rather than simply one of passive comprehension.
Semiotically, we see the diagonal axis symbolising the inner ego curve back and forth, suggesting inconstancy. The viewer is drawn by the extraordinarily refined aesthetic sensibility of the carving into the world of duty, responsibility, discipline and work. The decorated figure enriches the eternal interaction of Yin and Yang.
Quite simple geometric shapes seem invested with life.