Soler’s work is the result of experimenting with the nature of paint. The gestual, the intuitive, and the accidental nature of his approach is mediated by the quick drying of the industrial paints he chooses to work with. This experimentation results in a wealth of magnified textural creations reflecting the properties of the paint — literally and metaphorically capturing the fluidity of matter, and of the process, in a self-referential way rooted in abstract expressionism. The artist uses standard-size canvases often displayed in serial installations, allowing him to present each painting as one in a variety of close-up views of spontaneous happenings.

The paintings are characterized by a primal rawness and sensual appeal, and convey a sense of perpetual motion exemplifying uncertainty and fluidity; they also reflect the outcome of accidental happenings, able to generate new realities, some of them suggesting geological events. The results trigger in the artist, as the first spectator, metaphoric titles allusive to natural forces and events that occur in the realm of both the personal and the cosmic. 

Soler rejects the traditional way of constructing and producing paintings. He uses industrial materials – synthetic colors, lacquers and resins – that he buys in hardware stores. Also his method of painting is highly innovative, applying and manipulating layers of paint within the specific time frame these types of materials dictate. His technique makes it difficult to foresee the outcome, and retouches are not possible. In contrast to the intuitive method of painting, the titles are a product of a thorough investigation of the behavior of each painting and its essence.