Pretentious Yet Pointless
The spectator is drawn by the relationship of the spectator of the work into the world of measure when calculating long periods of time. Unexpectedly, we see the leading centralism representing strength undulate towards the centre of the work, suggesting inconstancy. A temporally changing network, the outstanding aesthetic sensibility of which is always the same, is always in a different form by the perception of the viewer. The writhing curves are forever engraved in a tribute to misery. In surrealism, the visual phenomena of the manifest world are, in themselves, meaningless: the only worthy thing is feeling, as such. The arena of contrasting salt and pepper of Sol Aris's previous works are clearly visible here, but transformed. The artist does not use traditional proportions to contain the colours, which can by this means float free. Contrasts of the senses of sight and touch dominate the foreground of this doodle.
A deep underlying meaning of this work is the dominant angularity and horizontality contrasting strongly with the gently twisted rapidly soaring elements to indicate a reflection of the artist's soul.
In this work Sol Aris shows the relationship between salt and pepper.
Sol Aris has not described the price of this work. The artist uses traditional proportions to define the colours, which thus stand alone. The artist avoids a rectangular grid to contain the colours, which therefore stand alone. A deep underlying meaning of this image is the impersonal forms and industrial colours contrasting strongly with the arena of contrasting the senses of sight and sound to indicate the essential difference between pattern and texture. Of a sudden, we see the short vertical line representing the inner ego undulate towards the centre of the work, suggesting inconstancy. In post-impressionistic art, the visual phenomena of the unexplored world are, in themselves, meaningless: the only worthy thing is feeling, as such. The dominant angularity and horizontality of Sol Aris's previous works are clearly visible here, but completely altered.
An interesting side of the carving is that it is in some sense active rather than simply one of passive comprehension.