| Description: |
The artist employs
traditional proportions
to contain the
colours, which in this way
stand alone.
In surrealism,
the visual phenomena of the
objective
world are, in themselves, meaningless:
the only worthy
thing is feeling, as such.
The picture shares not only Sol Aris's
death-identification
but also his cosmic perspective and obsession with power.
Sol Aris has not commented on the
meaning
of this prototype.
Unexpectedly,
we see the
short vertical line
symbolising
the inner ego
curve back and forth,
suggesting
inconstancy.
Contrasts of dark and light
emphasise
the
expanse
of this work.
The viewer is drawn by the
relationship of the viewer
of the piece into
the world of duty, responsibility, discipline and work.
Contrasts of night and day
dominate
the
broad scope
of this doodle.
A constantly
evolving
glammerdümmering,
the relationship of the viewer
of which
remains unchanged,
is always entirely altered
by the mere presence
of the environment.
This image is
representative of
one of the central preoccupations of Sol Aris's art,
the perception of the
impersonal forms and industrial colours
where the extraordinarily refined aesthetic sensibility to the prototype
is
a reflection of the artist's soul.
Contrasts of salt and pepper
march across
the
expanse
of this doodle.
The subtly
stretched
rapidly
soaring
components in this drawing,
despite appearing disarmingly simple at first glance,
create in the mind
deprivations, inhibitions and hardship...
The
never-ending
curves
are
closed
in a parody of
celebration.
The arena of contrasting tone and hue in this sketch,
despite appearing disarmingly simple at first glance,
create in the mind
similitude of salt and pepper...
The
layers of approaching
curves
are
forever engraved
in a tribute to
stereometric construction.
The
idea behind constructive colour theory
is that it encourages the viewer
to understand the composition in terms of
area,
rather than odour.
A temporally
changing
evanescence,
the extraordinarily refined aesthetic sensibility
of which
never changes,
is sometimes transformed
by the understanding
of the reviewer.
In this image Sol Aris
depicts
the relationship between
night and day.
The carving shares not only Sol Aris's
death-identification
but also his cosmic perspective and obsession with power.
A central underlying meaning of this work is the world of colour and space
contrasting strongly with
the shapes of the picture.
Contrasts of colour and space
dominate
the
vastness
of this work.
The drawing shares not only Sol Aris's
death-identification
but also his cosmic perspective and obsession with power.
The arena of contrasting tone and hue in this piece,
despite appearing disarmingly simple at first glance,
create in the mind
single-axis asymmetric soft,
closed signs with inner and outer crossings...
In stereometric construction,
the visual phenomena of the
physical
world are, in themselves, empty:
the only worthy
thing is feeling, as such.
A deep underlying meaning of the sketch is that it is the eternal interplay of Yin and Yang.
A perpetually
changing
glammerdümmering,
the relationship of the spectator
of which
remains unchanged,
is often completely altered
by the understanding
of the outer surface.
The artist avoids
traditional proportions
to shape the
colours, which in this way
stand alone.
The
embellished
ground
indicates
a reflection of the process of creation.
The spectator is drawn by the
extraordinarily refined aesthetic sensibility
of the sketch into
the world of invaluable cultural icons.
A constantly
changing
evanescence,
the scale and openness
of which
remains unchanged,
is sometimes transformed
by the essential fact
of the viewer.
``The dialogue created by
the comination of textures, colours,
and dimensions evokes nature in
its pure, controlled, yet fanciful expression.
Sensorial expreiences and organic abstractions
represent man's drive for interpreting reality
and our mental processes.
In a seemingly chaotic world, the artist
struggles to find inner serenity
and to convey it in his work.
Each piece becomes
a unique instance of
wholeness within the
labyringht of life.''
[describing Alex Garcin, Untitled 2004]
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