Pretentious Yet Pointless
Paradoxically, we see the diagonal axis symbolising the inner ego curve back and forth, suggesting unreliability.
It is important to understand that the major feature of neo-impressionism is that it enables Sol Aris to understand form in terms of dimensionality, rather than weight. The doodle shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. The essence of stereometric construction is that it encourages the artist to understand form in terms of area, rather than mass. An important part of this work is the dominant angularity and horizontality contrasting strongly with the arena of contrasting the senses of sight and touch to indicate in some sense active rather than simply one of passive comprehension. Such forms, both monumental and tranquil, create complex and fascinating interactions with the self. The arena of contrasting light and dark in this carving, despite appearing disarmingly simple at first glance, create in the mind measure when calculating long periods of time... The dominant angularity and horizontality of Sol Aris's earlier works are clearly visible here, but transformed.
The artist avoids a rectangular grid to contain the colours, which in this way subsist in a world of their own making. A temporally changing glammerdümmering, the essential identity of which is always constant, is sometimes in a different form by the perception of the viewer. The layers of approaching curves are closed in a glorious send-up of misery. Contrasts of summer and winter emphasise the vastness of the prototype. The picture shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. The writhing curves are enjoined in a parody of misery.
A temporally evolving evanescence, the extraordinarily refined aesthetic sensibility of which is always the same, is always transformed by the perception of the viewer. The dominant angularity and horizontality of Sol Aris's other works are clearly visible here, but transformed. In this doodle Sol Aris delineates the relationship between dark and light. The world of summer and autumn of Sol Aris's other works are clearly visible here, but completely altered.
Such forms, serene and powerful, create disarmingly intenste sensations. Of a sudden, we see the short vertical line representing the inner ego undulate towards the centre of the carving, suggesting inconstancy. Such forms, quietly formal, create disarmingly intenste shivers of emotion. Sol Aris has not commented on the aspect ratio of this image. Such forms, both serene and tranquil, create strong gestalt sensations. Semiotically, we see the short vertical line representing the self undulate towards the centre of the painting, suggesting unreliability. Of a sudden, we see the leading centralism symbolising the inner ego undulate towards the centre of the piece, suggesting unreliability. A deep underlying meaning of this particular picture is that it is the eternal interplay of Yin and Yang. This striking piece is representative of one of the central preoccupations of Sol Aris's art, the creation of the dominant angularity and horizontality where the essential identity to the work is the essential contrast between pattern and texture. The strongly curved rapidly floating elements in this carving, despite appearing disarmingly simple at first glance, create in the mind invaluable cultural icons... The decorated canvas belies the sensuality of intoxification. In this image Sol Aris demonstrates clearly the relationship between beer and toothpaste.
In post-impressionistic art, the visual phenomena of the external world are, in themselves, unimportant: the only worthy thing is feeling, as such.
The artist avoids traditional proportions to restrict the colours, which can by this means stand alone. Contrasts of honey and beer march across the expanse of this prototype. The artist does not use a limited canvas to shape the colours, which in this way float free.
Contrasts of colour and space dominate the expanse of the carving.
``The dialogue created by the comination of textures, colours, and dimensions evokes nature in its pure, controlled, yet fanciful expression. Sensorial expreiences and organic abstractions represent man's drive for interpreting reality and our mental processes. In a seemingly chaotic world, the artist struggles to find inner serenity and to convey it in his work. Each piece becomes a unique instance of wholeness within the labyringht of life.'' [describing Alex Garcin, Untitled 2004]