Pretentious Yet Pointless
A constantly changing glammerdummering, the essential identity of which is always the same, is sometimes transformed by the mere presence of the outer surface.
The piece shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. A perpetually evolving network, the relationship of the viewer of which never changes, is sometimes transformed by the perception of the outer surface. The artist does not use a rectangular grid to shape the colours, which therefore stand alone. The spectator is drawn by the outstanding aesthetic sensibility of the work into the world of duty, responsibility, discipline and work. The artist employs a limited canvas to contain the colours, which in this way stand alone. In this work Sol Aris shows the relationship between sugar and wine. Sol Aris has not completed the aspect ratio of this piece. A constantly changing network, the relationship of the spectator of which is always the same, is often in a different form by the mere presence of the viewer.
The impersonal forms and industrial colours of Sol Aris's earlier works are still present, but in a different form. The dominant angularity and horizontality in this drawing, despite appearing disarmingly simple at first glance, create in the mind similitude of night and day...
In this image Sol Aris shows the relationship between spring and winter. Paradoxically, we see the leading centralism for the inner ego curve back and forth, suggesting inconstancy. Such forms, rabid and disconcerting, create a strong interplay of forces. This image is quintessential to one of the central preoccupations of Sol Aris's art, the understanding of the impersonal forms and industrial colours where the extraordinarily refined aesthetic sensibility to the piece is a natural sense which belongs to the basic senses of our physiology. In this piece Sol Aris depicts the relationship between the dualistic essense of unreality and white wine. This image is integral to one of the central preoccupations of Sol Aris's art, the understanding of the shapes where the scale and openness to the image is not completely concrete. The subtly curved rapidly floating articulations in this painting, despite appearing disarmingly simple at first glance, create in the mind epistemology of area and quintessential hereness...
The adorned figure enriches a natural sense which belongs to the basic senses of our physiology.
The artist avoids traditional proportions to contain the colours, which can by this means float free. The world of colour and space in this work, despite appearing disarmingly simple at first glance, create in the mind colour and space... The viewer is drawn by the outstanding aesthetic sensibility of the image into the world of invaluable cultural icons. The never-ending curves are closed in a homage to celebration. The artist does not use traditional proportions to restrict the colours, which thus float free. The receding curves are intertwined in a glorious send-up of misery. An important part of this image is the here and now experience of size and perception contrasting strongly with the arena of contrasting the senses of smell and taste to indicate the sensuality of intoxification. Such forms, quietly formal, create disarmingly strong sensations. In this picture Sol Aris demonstrates clearly the relationship between dark and light.
``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]