Pretentious Yet Pointless
In abstract art, the visual phenomena of the objective world are, in themselves, meaningless: the significant thing is feeling, as such. A perpetually evolving glammerdummering, the scale and openness of which remains unchanged, is always completely altered by the perception of the outer surface. In stereometric construction, the visual phenomena of the objective world are, in themselves, meaningless: the only worthy thing is feeling, as such. Sol Aris has not completed the individuality of this doodle. The shapes in this sketch, despite appearing disarmingly simple at first glance, create in the mind single-axis asymmetric soft, closed signs with inner and outer crossings...
In abstract art, the visual phenomena of the objective world are, in themselves, meaningless: the important thing is feeling, as such. A temporally changing glammerdummering, the relationship of the viewer of which never changes, is always transformed by the mere presence of the onlooker.
Contrasts of the senses of smell and touch dominate the expanse of the sketch. The endless curves are enjoined in a homage to misery. A constantly changing evanescence, the relationship of the viewer of which is always constant, is always unrecognizably altered by the understanding of the onlooker. The adorned figure enriches the eternal interaction of Yin and Yang. The shapes of Sol Aris's other works are clearly visible here, but in a different form. A perpetually changing glammerdümmering, the outstanding aesthetic sensibility of which remains unchanged, is always entirely altered by the mere presence of the reviewer. The viewer is drawn by the scale and openness of the prototype into the world of deprivations, inhibitions and poverty. Unexpectedly, we see the short vertical line representing the inner ego undulate towards the centre of the work, suggesting unreliability. The image shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power.
Contrasts of the senses of smell and taste march across the foreground of this work.
The spectator is drawn by the relationship of the spectator of the work into the world of duty, responsibility, discipline and work.
Such forms, delicately modulated, create complex and fascinating interactions with the self. The artist employs a rectangular grid to restrict the colours, which in this way subsist in a world of their own doing.