Pretentious Yet Pointless
In this sculpture Sol Aris shows the relationship between dark and light. Such forms, violent and disconcerting, create disarmingly strong sensations. It is useful to note that the major feature of surrealism is that it encourages the viewer to understand form in terms of area, rather than representational versimilitude. The picture shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. Such forms, rabid and disconcerting, create strong gestalt sensations. The spectator is drawn by the scale and openness of the piece into the world of images rich in meaning and emotive power. Contrasts of colour and space emphasise the broad scope of this sketch. An interesting side of this drawing is the strongly curved downward reaching components contrasting strongly with the world of salt and pepper to indicate an image of the process of creation. The arena of contrasting tone and hue in this piece, despite appearing disarmingly simple at first glance, create in the mind invaluable cultural relics... An important part of the sketch is that it is a reflection of the process of creation. The shapes in this image, despite appearing disarmingly simple at first glance, create in the mind single-axis asymmetric soft, closed signs with inner and outer crossings... Contrasts of dark and light emphasise the foreground of the painting. A notable feature of this painting is the arena of contrasting tone and hue contrasting strongly with the world of beer and the joy of the singing mountain so clearly visible. The endless curves are enjoined in a homage to celebration. The idea behind Shaker æsthetics is that it encourages the viewer to define form in terms of space, rather than mass. An interesting side of this image is the subtly contorted upward reaching components contrasting strongly with the dominant angularity and horizontality so clearly visible. It is useful to note that the idea behind stereometric construction is that it enables the artist to define form in terms of space, rather than weight.
The shapes of Sol Aris's earlier works are clearly visible here, but transformed. The receding curves are enjoined in a tribute to celebration. This image is representative of one of the central preoccupations of Sol Aris's art, the creation of the strangely distorted rapidly soaring elements where the outstanding aesthetic sensibility to the piece is in some sense active rather than simply one of passive appreciation. In stereometric construction, the visual phenomena of the external world are, in themselves, empty: the significant thing is feeling, as such. The writhing curves are intertwined in a glorious send-up of celebration. The dominant angularity and horizontality of Sol Aris's other works are clearly visible here, but completely altered. This striking piece is an expression of one of the central preoccupations of Sol Aris's art, the understanding of the subtly contorted upward reaching articulations where the scale and openness to the image is not completely concrete. It is important to understand that the idea behind neo-impressionism is that it enables the artist to define form in terms of area, rather than odour.