Pretentious Yet Pointless | |
| Artist: | Aris, Sol |
| Medium: | Acrylics on virtual canvas |
| Title: | Randomly generated image 1133776353 |
| Date: | Thu Nov 12 05:06:27 UTC 2026 |
| Description: |
In neo-impressionism,
the visual phenomena of the
manifest
world are, in themselves, empty:
the significant
thing is feeling, as such.
The
never-ending
curves
are
enjoined
in a glorious send-up of
misery.
The doodle shares not only Sol Aris's
death-identification
but also his cosmic perspective and obsession with power.
The viewer is drawn by the
essential identity
of the picture into
the world of deprivations, inhibitions and poverty.
The artist does not use
a rectangular grid
to contain the
colours, which thus
float free.
A constantly
evolving
evanescence,
the essential identity
of which
remains unchanged,
is sometimes in a different form
by the essential fact
of the onlooker.
A deep underlying meaning of this work is the strangely
curved
downward
soaring
components
contrasting strongly with
the subtly
curved
rapidly
soaring
elements to indicate the eternal or spiritual dimension and its
endless possibilities.
Of a sudden,
we see the
diagonal axis
for
the inner ego
undulate towards the centre of the image,
suggesting
inconstancy.
The
major feature of constructive colour theory
is that it encourages the viewer
to define the composition in terms of
dimensionality,
rather than weight.
Sol Aris has not described the
individuality
of this sketch.
Sol Aris has not commented on the
individuality
of this work.
An important part of this image is the shapes
contrasting strongly with
the dominant angularity and horizontality so clearly visible.
Of a sudden, we see the short vertical line representing the self undulate towards the centre of the work, suggesting inconstancy. A deep underlying meaning of this particular carving is that it is a reflection of the process of creation. ``The artist is more a facilitator than an authoritarian with his materials and thus expresses `sympathy with matter'.'' [Robert Morris: Works of the Eighties, p.26., Edward F. Fry and Donald P. Kuspit] |
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