Pretentious Yet Pointless

	Pretentious Yet Pointless

Artist:	Aris, Sol
Medium:	Acrylics on virtual canvas
Title:	Randomly generated image 1133584554
Date:	Thu Oct 22 08:59:27 UTC 2026
Description:	In post-impressionistic art, the visual phenomena of the unexplored world are, in themselves, unimportant: the important thing is feeling, as such. The work shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. The image shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. The writhing curves are closed in a glorious send-up of celebration. In the Suprematist school, the visual phenomena of the external world are, in themselves, empty: the significant thing is feeling, as such. The spectator is drawn by the extraordinarily refined aesthetic sensibility of the painting into the world of duty, responsibility, discipline and work. This striking piece is an expression of one of the central preoccupations of Sol Aris's art, the understanding of the impersonal forms and industrial colours where the relationship of the spectator to the carving is a reflection of the artist's soul. A notable feature of the image is that it is an image of the process of creation. The endless curves are enjoined in a parody of celebration. The artist uses a limited canvas to contain the colours, which therefore subsist in a world of their own doing. The artist avoids a rectangular grid to define the colours, which thus float free. Sol Aris has not described the title of this image. The viewer is drawn by the scale and openness of the painting into the world of single-axis asymmetric soft, closed signs with inner and outer crossings. In this prototype Sol Aris depicts the relationship between the senses of smell and sound. The arena of contrasting tone and hue in this image, despite appearing disarmingly simple at first glance, create in the mind images steeped in insight and emotion... An interesting aspect of this carving is the impersonal forms and industrial colours contrasting strongly with the arena of contrasting tone and hue of the work. The never-ending curves are closed in a homage to post-impressionistic art. A constantly changing evanescence, the relationship of the viewer of which is always constant, is always in a different form by the understanding of the reviewer. The work shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. It is useful to note that the essence of neo-impressionism is that it encourages Sol Aris to define form in terms of space, rather than representational versimilitude. ``The problems dealt with in abstract art relate to the interplay of forces; the geometrical forms often used by abstract artists do not indicate (as has been thought) a conscious and intellectual, mathematical approach -- a square and a circle in art are nothing in themselves and are alive only in the instinctive and ispirational use an artist can make of them in expressing a poetic idea'' [Ben Nicholsen, Notes on Abstract Art, 1942]
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