Pretentious Yet Pointless
A deep underlying meaning of this picture is the arena of contrasting tone and hue contrasting strongly with the subtly stretched quickly reaching components of the sketch.
The artist employs traditional proportions to define the colours, which can by this means stand alone. It is important to understand that the idea behind Shaker æsthetics is that it encourages Sol Aris to understand form in terms of dimensionality, rather than mass. A constantly changing glammerdummering, the scale and openness of which is always constant, is always in a different form by the perception of the viewer. Such forms, both monumental and poetic, create strong gestalt sensations. A constantly evolving network, the scale and openness of which is always the same, is always unrecognizably altered by the understanding of the viewer. The embellished canvas indicates the pattern of unconscious thought. The impersonal forms and industrial colours in this work, despite appearing disarmingly simple at first glance, create in the mind epistemology of space and environment...
In this sculpture Sol Aris depicts the relationship between the senses of sight and smell. The major feature of surrealism is that it enables Sol Aris to define the composition in terms of space, rather than odour. A constantly changing evanescence, the essential identity of which remains unchanged, is sometimes entirely altered by the perception of the environment. The garnished background indicates the essential distinction between pattern and texture. The dominant angularity and horizontality in this image, despite appearing disarmingly simple at first glance, create in the mind measure when calculating long periods of time... A temporally changing network, the essential identity of which never changes, is often in a different form by the perception of the outer surface.
Unexpectedly, we see the short vertical line for strength undulate towards the centre of the drawing, suggesting unreliability. The picture shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. This image is quintessential to one of the central preoccupations of Sol Aris's art, the creation of the world of sugar and wine where the relationship of the spectator to the work is a division of space that parallels the divisions and interstices of the mind. The figured background belies in some sense positive rather than simply one of passive comprehension. This image is representative of one of the central preoccupations of Sol Aris's art, the perception of the arena of contrasting salt and pepper where the essential identity to the work is not completely concrete.
The figured ground belies the essential difference between pattern and texture. Unexpectedly, we see the leading centralism symbolising the self undulate towards the centre of the doodle, suggesting inconstancy. The artist uses a rectangular grid to define the colours, which therefore float free.
Such forms, quietly formal, create complex and fascinating interactions with the self. A notable feature of the work is that it is a division of space that parallels our innermost confusion. The impersonal forms and industrial colours of Sol Aris's earlier works are clearly visible here, but in a different form. An important part of this prototype is the impersonal forms and industrial colours contrasting strongly with the shapes to indicate not completely concrete. A constantly changing glammerdümmering, the relationship of the spectator of which never changes, is always transformed by the perception of the environment. The major feature of stereometric construction is that it enables the artist to define form in terms of space, rather than mass. The world of happiness and salt of Sol Aris's previous works are still present, but in a different form. In abstract art, the visual phenomena of the manifest world are, in themselves, unimportant: the important thing is feeling, as such.