Pretentious Yet Pointless

	Pretentious Yet Pointless

Artist:	Aris, Sol
Medium:	Acrylics on virtual canvas
Title:	Randomly generated image 1133411745
Date:	Tue Sep 22 23:03:26 UTC 2026
Description:	It is important to understand that the essence of surrealism is that it enables the viewer to understand form in terms of area, rather than representational versimilitude. In surrealism, the visual phenomena of the external world are, in themselves, empty: the only worthy thing is feeling, as such. This striking piece is an expression of one of the central preoccupations of Sol Aris's art, the perception of the dominant angularity and horizontality where the essential identity to the piece is a primary natural sense which belongs to the basic senses of our very being. Contrasts of toothpaste and lager emphasise the foreground of the image. It is important to understand that the major feature of stereometric construction is that it enables the artist to define the composition in terms of space, rather than weight. Sol Aris has not commented on the meaning of this picture. Semiotically, we see the diagonal axis representing the self undulate towards the centre of the painting, suggesting inconstancy. Such forms, delicately variegated, create a strong interplay of forces. Of a sudden, we see the diagonal axis symbolising power and authority undulate towards the centre of the work, suggesting unreliability. The figured background indicates a natural sense which belongs to the basic senses of our spirituality. The garnished figure enriches a division of space that parallels our innermost confusion. The spectator is drawn by the essential identity of the painting into the world of similarity of the senses of sight and touch. This striking piece is quintessential to one of the central preoccupations of Sol Aris's art, the understanding of the arena of contrasting tone and hue where the relationship of the viewer to the picture is the eternal or spiritual dimension and its endless possibilities. The artist does not use traditional proportions to contain the colours, which in this way float free. In this prototype Sol Aris demonstrates clearly the relationship between the senses of smell and sight. Semiotically, we see the short vertical line representing the self curve back and forth, suggesting unreliability. A temporally evolving evanescence, the extraordinarily refined aesthetic sensibility of which is always constant, is always transformed by the mere presence of the onlooker. The writhing curves are intertwined in a tribute to misery. Of a sudden, we see the leading centralism representing power and authority curve back and forth, suggesting inconstancy. The layers of approaching curves are closed in a homage to stereometric construction.
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