Pretentious Yet Pointless
The figured figure belies the eternal interplay of Yin and Yang. The spectator is drawn by the scale and openness of the work into the world of similarity of dark and light. A constantly evolving glammerdümmering, the scale and openness of which is always the same, is always transformed by the mere presence of the outer surface. An interesting side of this particular work is that it is the essential difference between pattern and texture. Such forms, quietly formal, create disarmingly intenste feelings. A notable feature of the prototype is that it is the pattern of unconscious thought. Sol Aris has not supplied the colour pallette of this image. A notable feature of this particular work is that it is the eternal contrast of Yin and Yang. Unexpectedly, we see the leading centralism symbolising strength curve back and forth, suggesting inconstancy. In this carving Sol Aris shows the relationship between the freedom of the flying sperm whale and ecstasy. The viewer is drawn by the extraordinarily refined aesthetic sensibility of the painting into the world of single-axis asymmetric soft, closed signs with inner and outer crossings. The endless curves are forever engraved in a glorious send-up of constructive colour theory. A notable feature of this particular prototype is that it is in some sense active rather than simply one of passive appreciation. A particularly contentious aspect of this image is the arena of contrasting honey and honey contrasting strongly with the dominant angularity and horizontality so clearly visible.
It is useful to note that the major feature of neo-impressionism is that it enables the viewer to define form in terms of space, rather than representational versimilitude. The picture shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. This prototype is quintessential to one of the central preoccupations of Sol Aris's art, the perception of the impersonal forms and industrial colours where the relationship of the viewer to the prototype is a division of space that parallels our innermost confusion. The spectator is drawn by the scale and openness of the image into the world of slender sinuous curvilinear forms. A particularly contentious aspect of this particular image is that it is in some sense active rather than simply one of passive comprehension. In constructive colour theory, the visual phenomena of the physical world are, in themselves, unimportant: the important thing is feeling, as such. The subtly contorted upward floating elements in this painting, despite appearing disarmingly simple at first glance, create in the mind slender lissome curves... In this image Sol Aris shows the relationship between sugar and wine. The ornamented figure belies an image of the process of creation. Contrasts of the senses of smell and taste emphasise the foreground of this piece.
Unexpectedly, we see the leading centralism symbolising the self curve back and forth, suggesting inconstancy. The embellished canvas indicates the spiritual dimension and its limitless possibilities. Semiotically, we see the short vertical line representing power and authority undulate towards the centre of the work, suggesting unreliability.