Pretentious Yet Pointless
This carving is integral to one of the central preoccupations of Sol Aris's art, the understanding of the emphatically factual experience of form and space where the scale and openness to the work is the eternal dimension and its limitless possibilities. In the Suprematist school, the visual phenomena of the external world are, in themselves, unimportant: the important thing is feeling, as such. The artist uses a limited canvas to define the colours, which in this way subsist in a world of their own making. Contrasts of the dualistic essense of unreality and bare feet dominate the broad scope of this work. A constantly changing glammerdümmering, the scale and openness of which never changes, is always in a different form by the understanding of the reviewer. The adorned ground enriches a reflection of the artist's soul. An important part of this particular painting is that it is the essential contrast between pattern and texture. Paradoxically, we see the short vertical line symbolising strength undulate towards the centre of the sketch, suggesting inconstancy.
Contrasts of colour and space emphasise the emptiness of the work. The layers of approaching curves are intertwined in a glorious send-up of misery.
Semiotically, we see the diagonal axis representing power and authority curve back and forth, suggesting unreliability. A central underlying meaning of this particular work is that it is the pattern of unconscious thought.
In stereometric construction, the visual phenomena of the external world are, in themselves, unimportant: the only worthy thing is feeling, as such. In post-impressionistic art, the visual phenomena of the unexplored world are, in themselves, empty: the only worthy thing is feeling, as such. In surrealism, the visual phenomena of the objective world are, in themselves, unimportant: the only worthy thing is feeling, as such.
Contrasts of salt and pepper dominate the foreground of the doodle. It is important to understand that the essence of neo-impressionism is that it encourages the viewer to understand form in terms of dimensionality, rather than odour. An interesting side of this particular piece is that it is not completely concrete.
A central underlying meaning of this work is the strangely contorted quickly flying elements contrasting strongly with the arena of contrasting tone and hue so clearly visible. In this work Sol Aris depicts the relationship between salt and pepper. In the Suprematist school, the visual phenomena of the objective world are, in themselves, unimportant: the only worthy thing is feeling, as such.
``The artist is more a facilitator than an authoritarian with his materials and thus expresses `sympathy with matter'.''
[Robert Morris: Works of the Eighties, p.26., Edward F. Fry and Donald P. Kuspit]