Pretentious Yet Pointless | |
| Artist: | Aris, Sol |
| Medium: | Acrylics on virtual canvas |
| Title: | Randomly generated image 1134430706 |
| Date: | Sun Nov 8 14:31:02 UTC 2026 |
| Description: |
Contrasts of spring and autumn
emphasise
the
expanse
of this picture.
A constantly
changing
evanescence,
the outstanding aesthetic sensibility
of which
remains unchanged,
is often irrefutably altered
by the understanding
of the environment.
Of a sudden,
we see the
leading centralism
for
strength
curve back and forth,
suggesting
unreliability.
The artist employs
a limited canvas
to contain the
colours, which therefore
stand alone.
Such forms, both serene and poetic, create complex and fascinating interactions with the environment.
The
figured
ground
indicates
the eternal dimension and its
limitless possibilities.
The
adorned
figure
belies
in some sense
positive
rather than simply one of passive appreciation.
This carving is
quintessential to
one of the central preoccupations of Sol Aris's art,
the perception of the
impersonal forms and industrial colours
where the essential identity to the piece
is
the sensuality of extinction.
In stereometric construction,
the visual phenomena of the
manifest
world are, in themselves, unimportant:
the important
thing is feeling, as such.
The
major feature of abstract art
is that it enables the artist
to define form in terms of
area,
rather than odour.
A constantly
evolving
evanescence,
the essential identity
of which
never changes,
is often in a different form
by the essential fact
of the outer surface.
Unexpectedly,
we see the
diagonal axis
representing
the inner ego
undulate towards the centre of the drawing,
suggesting
unreliability.
It is important to understand that the
essence of surrealism
is that it enables the artist
to understand form in terms of
space,
rather than representational versimilitude.
An interesting aspect of this sketch is the arena of contrasting tone and hue
contrasting strongly with
the emphatically factual experience of
dark and light to indicate not completely concrete.
A temporally
evolving
evanescence,
the scale and openness
of which
is always the same,
is often completely altered
by the perception
of the viewer.
The artist uses
a rectangular grid
to contain the
colours, which therefore
stand alone.
The
beribboned
background
indicates
a natural sense
which belongs to the basic senses of
our psychology.
The artist does not use
traditional proportions
to shape the
colours, which in this way
stand alone.
The impersonal forms and industrial colours in this image,
despite appearing disarmingly simple at first glance,
create in the mind
epistemology of area and
place...
Paradoxically,
we see the
short vertical line
representing
the inner ego
curve back and forth,
suggesting
unreliability.
This striking piece is
quintessential to
one of the central preoccupations of Sol Aris's art,
the perception of the
arena of contrasting pepper and the freedom of the singing sperm whale
where the essential identity to the piece
is
the eternal contrast of Yin and Yang.
Sol Aris has not commented on the
colour pallette
of this doodle.
An important part of this image is the arena of contrasting tone and hue
contrasting strongly with
the impersonal forms and industrial colours so clearly visible.
The
idea behind post-impressionistic art
is that it encourages Sol Aris
to define form in terms of
space,
rather than weight.
The work shares not only Sol Aris's
death-identification
but also his cosmic perspective and obsession with power.
The artist employs
traditional proportions
to restrict the
colours, which in this way
subsist in a world of their own choosing.
Contrasts of colour and space march across the broad scope of this sketch. The viewer is drawn by the essential identity of the carving into the world of duty, responsibility, discipline and work. ``This art, facing forwards and inwards, is of images of expectation and spiritual progress that are freighted with no historical context at all and which owe little to the appearance of observed reality.'' [Brian Keeble, on Cecil Collins, Temeno 11, London, 1990, p.114] |
| next work |