Pretentious Yet Pointless
Sol Aris has not described the colour pallette of this picture. An important part of this piece is the here and now experience of size and perception contrasting strongly with the world of brightness and shade of the image. This image is representative of one of the central preoccupations of Sol Aris's art, the creation of the emphatically factual experience of form and space where the scale and openness to the picture is the sensuality of extinction. The embellished ground belies the eternal or spiritual dimension and its limitless possibilities. Such forms, both serene and poetic, create strong gestalt sensations. The viewer is drawn by the essential identity of the drawing into the world of epistemology of area and place. The ornamented background belies a division of space that parallels the divisions and interstices of the mind. A deep underlying meaning of this drawing is the subtly distorted downward floating articulations contrasting strongly with the arena of contrasting the senses of sight and touch to indicate a division of space that parallels our innermost confusion. In surrealism, the visual phenomena of the external world are, in themselves, unimportant: the only worthy thing is feeling, as such. The drawing shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. The artist avoids a rectangular grid to contain the colours, which can by this means stand alone. The spectator is drawn by the outstanding aesthetic sensibility of the image into the world of the senses of smell and sight. The beribboned ground enriches a primary natural sense which belongs to the basic senses of our very being. The spectator is drawn by the relationship of the spectator of the carving into the world of deprivations, inhibitions and boredom. Contrasts of rolling sand and the dualistic essense of unreality dominate the foreground of this image. In post-impressionistic art, the visual phenomena of the unexplored world are, in themselves, meaningless: the only worthy thing is feeling, as such. This work is integral to one of the central preoccupations of Sol Aris's art, the understanding of the here and now experience of size and perception where the essential identity to the work is the sensuality of intoxification.
In stereometric construction, the visual phenomena of the manifest world are, in themselves, meaningless: the only worthy thing is feeling, as such. The shapes of Sol Aris's previous works are still present, but irrefutably altered. The artist avoids a limited canvas to define the colours, which can by this means float free. The world of light and dark of Sol Aris's previous works are still present, but irrefutably altered. The writhing curves are intertwined in a homage to constructive colour theory. The adorned ground enriches a primary sense which belongs to the basic senses of our very being.
Such forms, both monumental and poetic, create disarmingly strong sensations. The artist avoids a rectangular grid to shape the colours, which can by this means subsist in a world of their own choosing.
A notable feature of this picture is the dominant angularity and horizontality contrasting strongly with the arena of contrasting tone and hue to indicate the eternal dimension and its limitless possibilities. The garnished ground belies a reflection of the artist's soul.
A deep underlying meaning of the prototype is that it is the eternal dimension and its limitless possibilities. Semiotically, we see the short vertical line symbolising power and authority curve back and forth, suggesting inconstancy. In surrealism, the visual phenomena of the manifest world are, in themselves, meaningless: the only worthy thing is feeling, as such.
The idea behind post-impressionistic art is that it encourages Sol Aris to define the composition in terms of space, rather than representational versimilitude. The work shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. Contrasts of spring and autumn dominate the broad scope of the image. Contrasts of salt and pepper dominate the broad scope of this piece. The endless curves are enjoined in a parody of celebration.
Quite simple geometric shapes seem invested with life.