Pretentious Yet Pointless
In this drawing Sol Aris demonstrates clearly the relationship between the senses of sight and taste. Unexpectedly, we see the diagonal axis symbolising strength curve back and forth, suggesting inconstancy. The never-ending curves are closed in a tribute to celebration. Of a sudden, we see the short vertical line representing strength undulate towards the centre of the image, suggesting inconstancy. Such forms, violent and disconcerting, create complex and fascinating interactions with the self. In abstract art, the visual phenomena of the objective world are, in themselves, meaningless: the only worthy thing is feeling, as such. A temporally changing glammerdümmering, the relationship of the spectator of which is always the same, is sometimes unrecognizably altered by the mere presence of the onlooker. A deep underlying meaning of this particular sketch is that it is in some sense positive rather than simply one of passive appreciation.
The embellished canvas enriches the essential contrast between pattern and texture. This image is an expression of 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 spectator to the piece is the spiritual dimension and its endless possibilities.
The arena of contrasting the senses of smell and taste in this sketch, despite appearing disarmingly simple at first glance, create in the mind epistemology of area and place... Unexpectedly, we see the leading centralism for strength undulate towards the centre of the work, suggesting inconstancy. 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 outstanding aesthetic sensibility to the piece is the essential difference between pattern and texture. In this image Sol Aris delineates the relationship between the senses of sight and sound. Such forms, both serene and poetic, create disarmingly intenste sensations.
In constructive colour theory, the visual phenomena of the physical world are, in themselves, meaningless: the significant thing is feeling, as such.
Such forms, rapidly moving and disconcerting, create complex and fascinating interactions with the self.
A central underlying meaning of this particular image is that it is a reflection of the artist's soul. A constantly evolving network, the essential identity of which never changes, is sometimes in a different form by the mere presence of the viewer.