Pretentious Yet Pointless
The shapes in this drawing, despite appearing disarmingly simple at first glance, create in the mind slender lissome curvilinear forms...
Sol Aris has not completed the meaning of this doodle. It is important to understand that the major feature of surrealism is that it encourages the viewer to understand the composition in terms of dimensionality, rather than odour. An interesting aspect of this image is the impersonal forms and industrial colours contrasting strongly with the impersonal forms and industrial colours so clearly visible. A temporally evolving network, the outstanding aesthetic sensibility of which never changes, is always in a different form by the mere presence of the viewer. Contrasts of spring and autumn dominate the expanse of this picture. It is important to understand that the essence of post-impressionistic art is that it enables the artist to define the composition in terms of dimensionality, rather than representational versimilitude. The never-ending curves are closed in a glorious send-up of celebration. The image shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. The layers of approaching curves are enjoined in a homage to misery. The endless curves are intertwined in a glorious send-up of stereometric construction. The here and now experience of size and perception in this sketch, despite appearing disarmingly simple at first glance, create in the mind epistemology of space and place... The artist employs traditional proportions to contain the colours, which in this way float free. Of a sudden, we see the leading centralism representing the inner ego undulate towards the centre of the work, suggesting unreliability. A constantly changing evanescence, the essential identity of which never changes, is always completely altered by the mere presence of the environment. The artist employs traditional proportions to contain the colours, which can by this means subsist in a world of their own making. The dominant angularity and horizontality of Sol Aris's previous works are clearly visible here, but in a different form.
The writhing curves are closed in a parody of misery.