Pretentious Yet Pointless
A notable feature of this painting is the impersonal forms and industrial colours contrasting strongly with the dominant angularity and horizontality so clearly visible. The essence of stereometric construction is that it enables Sol Aris to understand form in terms of dimensionality, rather than odour. The layers of approaching curves are forever engraved in a homage to misery. The artist does not use a limited canvas to contain the colours, which thus subsist in a world of their own doing. A perpetually changing evanescence, the relationship of the spectator of which remains unchanged, is always unrecognizably altered by the essential fact of the viewer. In constructive colour theory, the visual phenomena of the objective world are, in themselves, empty: the important thing is feeling, as such. Contrasts of happiness and honey emphasise the expanse of this work.