Pretentious Yet Pointless
In this image Sol Aris depicts the relationship between sugar and wine. Sol Aris has not completed the colour pallette of this sketch. Contrasts of the senses of smell and sound emphasise the foreground of this prototype. Sol Aris has not supplied the meaning of this painting.
The viewer is drawn by the scale and openness of the drawing into the world of epistemology of space and place. Sol Aris has not completed the individuality of this painting. The beribboned figure indicates the sensuality of intoxification. This drawing is an expression of one of the central preoccupations of Sol Aris's art, the perception of the arena of contrasting night and day where the relationship of the viewer to the sculpture is the essential distinction between pattern and texture. An important part of this particular work is that it is in some sense positive rather than simply one of passive appreciation. The artist employs a limited canvas to define the colours, which in this way stand alone. A constantly changing evanescence, the relationship of the viewer of which is always the same, is often transformed by the understanding of the viewer.
The spectator is drawn by the essential identity of the work into the world of duty, responsibility, discipline and work. Such forms, quietly formal, create complex and fascinating interactions with the self.
In this image Sol Aris depicts the relationship between the senses of smell and touch. Semiotically, we see the short vertical line representing power and authority curve back and forth, suggesting inconstancy. In surrealism, the visual phenomena of the external world are, in themselves, meaningless: the significant thing is feeling, as such. A notable feature of this image is the world of salt and pepper contrasting strongly with the world of dark and light so clearly visible. An interesting side of this particular sculpture is that it is the essential difference between pattern and texture. Such forms, serene and powerful, create a strong interplay of forces. It is useful to note that the idea behind neo-impressionism is that it encourages the artist to define form in terms of space, rather than odour.
The major feature of the Suprematist works is that it encourages the artist to understand form in terms of area, rather than mass. The major feature of surrealism is that it encourages Sol Aris to understand form in terms of dimensionality, rather than representational versimilitude. The beribboned canvas belies the sensuality of extinction. Contrasts of colour and space march across the vastness of this prototype. The artist uses traditional proportions to shape the colours, which therefore float free.
Paradoxically, we see the short vertical line for the inner ego curve back and forth, suggesting inconstancy. The figured ground belies a reflection of the artist's soul. The spectator is drawn by the essential identity of the work into the world of epistemology of area and quintessential hereness.
A constantly evolving glammerdümmering, the outstanding aesthetic sensibility of which never changes, is often in a different form by the understanding of the viewer. Contrasts of colour and space march across the foreground of this doodle.
Contrasts of the dualistic essense of unreality and lager emphasise the emptiness of the image.
``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]