Pretentious Yet Pointless

random artwork

Artist: Aris, Sol
Medium: Acrylics on virtual canvas
Title: Randomly generated image 1133568307
Date: Mon Oct 19 12:09:32 UTC 2026
Description: An important part of this drawing is the impersonal forms and industrial colours contrasting strongly with the strongly twisted rapidly floating elements to indicate a primary sense which belongs to the basic senses of our spirituality. An important part of the carving is that it is the spiritual dimension and its endless possibilities. The artist does not use a rectangular grid to restrict the colours, which can by this means subsist in a world of their own choosing. Unexpectedly, we see the diagonal axis representing power and authority curve back and forth, suggesting inconstancy. The strangely stretched quickly floating components of Sol Aris's previous works are clearly visible here, but in a different form. In constructive colour theory, the visual phenomena of the unexplored world are, in themselves, meaningless: the important thing is feeling, as such.

Contrasts of red wine and unshod feet march across the broad scope of the piece. The artist uses traditional proportions to define the colours, which in this way subsist in a world of their own doing. Of a sudden, we see the short vertical line symbolising the self curve back and forth, suggesting inconstancy. Such forms, intensely variegated, create strong gestalt sensations. It is useful to note that the idea behind neo-impressionism is that it encourages the artist to define form in terms of area, rather than odour. The major feature of neo-impressionism is that it enables Sol Aris to understand form in terms of space, rather than weight. A temporally changing network, the outstanding aesthetic sensibility of which never changes, is always in a different form by the understanding of the outer surface.

A constantly changing network, the outstanding aesthetic sensibility of which is always constant, is sometimes in a different form by the understanding of the environment. The writhing curves are forever engraved in a glorious send-up of misery.

``This art, facing forwards and inwards, is of images of expectation and spiritual progress that are freighted with no historical context at all and which owe little to the appearance of observed reality.'' [Brian Keeble, on Cecil Collins, Temeno 11, London, 1990, p.114]
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