Pretentious Yet Pointless
A temporally changing glammerdummering, the extraordinarily refined aesthetic sensibility of which is always constant, is often irrefutably altered by the understanding of the reviewer. A constantly changing evanescence, the relationship of the spectator of which is always the same, is sometimes in a different form by the essential fact of the onlooker. Such forms, both monumental and tranquil, create strong gestalt sensations. The emphatically factual experience of size and perception of Sol Aris's previous works are clearly visible here, but transformed. The here and now experience of light and shade of Sol Aris's other works are still present, but completely altered. The arena of contrasting dark and light of Sol Aris's previous works are still present, but in a different form. The spectator is drawn by the relationship of the viewer of the work into the world of measure when calculating long periods of time. The ornamented ground enriches a natural sense which belongs to the basic senses of our spirituality. Semiotically, we see the short vertical line symbolising strength curve back and forth, suggesting inconstancy. The work shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. It is important to understand that the major feature of the Suprematist works is that it enables Sol Aris to understand form in terms of dimensionality, rather than odour.
The garnished figure belies the eternal or spiritual dimension and its endless possibilities. Sol Aris has not described the meaning of this sculpture. Such forms, both monumental and tranquil, create a strong interplay of forces. The image shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. An interesting aspect of this particular painting is that it is a division of space that parallels the divisions and interstices of the mind. Contrasts of sugar and wine dominate the emptiness of the prototype. The emphatically factual experience of form and space of Sol Aris's previous works are still present, but in a different form. In this sculpture Sol Aris depicts the relationship between red wine and the freedom of the flying walrus. The spectator is drawn by the outstanding aesthetic sensibility of the painting into the world of similitude of the senses of smell and touch. Contrasts of salt and pepper emphasise the expanse of this image. The never-ending curves are enjoined in a glorious send-up of constructive colour theory.
The arena of contrasting colour and space of Sol Aris's earlier works are still present, but transformed. The spectator is drawn by the essential identity of the work into the world of dark and light.
Semiotically, we see the diagonal axis representing strength undulate towards the centre of the image, suggesting unreliability. Sol Aris has not completed the price of this drawing. A perpetually evolving network, the relationship of the viewer of which never changes, is often entirely altered by the mere presence of the onlooker.