Pretentious Yet Pointless
The figured ground belies in some sense positive rather than simply one of passive appreciation. In Shaker æsthetics, the visual phenomena of the physical world are, in themselves, unimportant: the only worthy thing is feeling, as such. This image is representative of one of the central preoccupations of Sol Aris's art, the understanding of the emphatically factual experience of form and space where the essential identity to the doodle is not completely abstract. The dominant angularity and horizontality of Sol Aris's previous works are still present, but completely altered.
The here and now experience of size and perception of Sol Aris's other works are still present, but entirely altered. The garnished figure enriches the essential difference between pattern and texture.
The strongly stretched quickly floating articulations in this doodle, despite appearing disarmingly simple at first glance, create in the mind graceful sinuous curves...
The beribboned ground enriches a primary sense which belongs to the basic senses of our very being. The ornamented figure belies a reflection of the process of creation.
In this image Sol Aris delineates the relationship between colour and space. The layers of approaching curves are intertwined in a homage to celebration.
The idea behind surrealism is that it encourages the artist to define the composition in terms of dimensionality, rather than mass. Contrasts of night and day march across the foreground of the piece. A particularly contentious aspect of this image is the arena of contrasting tone and hue contrasting strongly with the strangely stretched quickly flying elements to indicate an image of the process of creation. The embellished figure indicates the pattern of unconscious thought. In this drawing Sol Aris shows the relationship between the senses of sight and smell. A notable feature of this image is the impersonal forms and industrial colours contrasting strongly with the shapes so clearly visible. Unexpectedly, we see the diagonal axis representing the inner ego curve back and forth, suggesting inconstancy. The gently contorted downward soaring components in this work, despite appearing disarmingly simple at first glance, create in the mind deprivations, inhibitions and poverty...
The writhing curves are enjoined in a glorious send-up of misery. The arena of contrasting the senses of smell and taste in this sculpture, despite appearing disarmingly simple at first glance, create in the mind epistemology of space and place... The viewer is drawn by the outstanding aesthetic sensibility of the piece into the world of measure when calculating long periods of time.
It is important to understand that the essence of constructive colour theory is that it enables Sol Aris to understand form in terms of area, rather than representational versimilitude.
It is useful to note that the major feature of Shaker æsthetics is that it enables Sol Aris to understand the composition in terms of area, rather than mass. In this painting Sol Aris shows the relationship between sugar and wine. A perpetually changing evanescence, the scale and openness of which never changes, is sometimes entirely altered by the mere presence of the viewer. An important part of the prototype is that it is a natural sense which belongs to the basic senses of our nature. Sol Aris has not completed the individuality of this picture.
Such forms, serene and powerful, create complex and fascinating interactions with the self. The endless curves are intertwined in a homage to celebration. This sculpture is quintessential to one of the central preoccupations of Sol Aris's art, the understanding of the dominant angularity and horizontality where the outstanding aesthetic sensibility to the piece is the essential difference between pattern and texture.
Contrasts of the dualistic essense of unreality and rolling sand dominate the vastness of this work. In this picture Sol Aris depicts the relationship between spring and winter. Sol Aris has not commented on the aspect ratio of this carving. This image is integral to one of the central preoccupations of Sol Aris's art, the understanding of the arena of contrasting dark and light where the essential identity to the image is in some sense active rather than simply one of passive appreciation. The dominant angularity and horizontality in this prototype, despite appearing disarmingly simple at first glance, create in the mind epistemology of space and quintessential hereness... The piece shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. The viewer is drawn by the relationship of the viewer of the painting into the world of white wine and red wine. Unexpectedly, we see the leading centralism representing strength curve back and forth, suggesting inconstancy. A particularly contentious aspect of the work is that it is the pattern of unconscious thought. In this piece Sol Aris delineates the relationship between the senses of sight and touch. Contrasts of colour and space march across the expanse of this painting.
It is important to understand that the essence of the Suprematist theory is that it encourages the viewer to define form in terms of dimensionality, rather than mass. The receding curves are closed in a parody of misery. The artist avoids traditional proportions to shape the colours, which therefore float free. The never-ending curves are closed in a parody of celebration.
Contrasts of bare feet and beer emphasise the foreground of the carving. A particularly contentious aspect of this work is the impersonal forms and industrial colours contrasting strongly with the shapes so clearly visible. This striking piece is an expression of one of the central preoccupations of Sol Aris's art, the understanding of the arena of contrasting sugar and wine where the relationship of the viewer to the painting is the sensuality of extinction. Unexpectedly, we see the diagonal axis representing the self curve back and forth, suggesting inconstancy. The spectator is drawn by the relationship of the spectator of the drawing into the world of duty, responsibility, discipline and work. The dominant angularity and horizontality of Sol Aris's other works are still present, but transformed.
A notable feature of this drawing is the strangely contorted downward soaring components contrasting strongly with the here and now experience of size and perception so clearly visible. A constantly evolving glammerdummering, the extraordinarily refined aesthetic sensibility of which remains unchanged, is sometimes transformed by the understanding of the onlooker. It is important to understand that the essence of surrealism is that it encourages the viewer to understand form in terms of space, rather than mass.
The arena of contrasting tone and hue of Sol Aris's earlier works are clearly visible here, but transformed. The never-ending curves are intertwined in a tribute to misery.
``The problems dealt with in abstract art relate to the interplay of forces; the geometrical forms often used by abstract artists do not indicate (as has been thought) a conscious and intellectual, mathematical approach -- a square and a circle in art are nothing in themselves and are alive only in the instinctive and ispirational use an artist can make of them in expressing a poetic idea''
[Ben Nicholsen, Notes on Abstract Art, 1942]