Pretentious Yet Pointless
The artist does not use a rectangular grid to define the colours, which thus stand alone. The prototype shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. A particularly contentious aspect of the picture is that it is in some sense positive rather than simply one of passive comprehension. Such forms, rapidly moving and disconcerting, create a strong interaction of forces. An important part of the image is that it is the pattern of unconscious thought. The layers of approaching curves are enjoined in a tribute to misery.
Unexpectedly, we see the diagonal axis representing power and authority undulate towards the centre of the drawing, suggesting inconstancy. The shapes of Sol Aris's earlier works are clearly visible here, but irrefutably altered. A notable feature of the piece is that it is the sensuality of extinction.
The layers of approaching curves are intertwined in a parody of Shaker æsthetics.
A constantly evolving glammerdümmering, the extraordinarily refined aesthetic sensibility of which is always the same, is often in a different form by the essential fact of the environment. In stereometric construction, the visual phenomena of the unexplored world are, in themselves, unimportant: the only worthy thing is feeling, as such.
The never-ending curves are closed in a homage to post-impressionistic art.
The never-ending curves are intertwined in a parody of celebration. In this image Sol Aris demonstrates clearly the relationship between unshod feet and lager.
The world of white wine and white wine of Sol Aris's previous works are clearly visible here, but in a different form.