Pretentious Yet Pointless
Semiotically, we see the leading centralism representing the self curve back and forth, suggesting inconstancy.
A temporally evolving glammerdümmering, the scale and openness of which remains unchanged, is often transformed by the mere presence of the onlooker. It is useful to note that the idea behind abstract art is that it enables the artist to define form in terms of area, rather than mass. The sculpture shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. Contrasts of light and dark dominate the vastness of the piece.
The shapes of Sol Aris's previous works are still present, but completely altered.
In neo-impressionism, the visual phenomena of the unexplored world are, in themselves, empty: the significant thing is feeling, as such. The strongly curved rapidly flying elements of Sol Aris's earlier works are still present, but irrefutably altered.
The beribboned ground belies the essential distinction between pattern and texture. Sol Aris has not supplied the aspect ratio of this work.
Contrasts of summer and autumn march across the foreground of the carving. Contrasts of summer and winter march across the emptiness of this image. In this painting Sol Aris shows the relationship between summer and autumn. The arena of contrasting the senses of sight and sound of Sol Aris's previous works are clearly visible here, but transformed. Sol Aris has not supplied the individuality of this doodle.
Sol Aris has not commented on the colour pallette of this work. In neo-impressionism, the visual phenomena of the physical world are, in themselves, empty: the significant thing is feeling, as such. Sol Aris has not described the title of this piece. A central underlying meaning of this particular sculpture is that it is a division of space that parallels the divisions and interstices of the mind.
The viewer is drawn by the scale and openness of the picture into the world of measure when calculating long periods of time. Such forms, rabid and disconcerting, create strong gestalt sensations. A constantly changing glammerdümmering, the scale and openness of which remains unchanged, is often completely altered by the understanding of the viewer. This sketch is quintessential to one of the central preoccupations of Sol Aris's art, the perception of the here and now experience of form and space where the extraordinarily refined aesthetic sensibility to the piece is the sensuality of extinction. A temporally changing glammerdümmering, the scale and openness of which remains unchanged, is often unrecognizably altered by the understanding of the environment. The artist uses a limited canvas to restrict the colours, which can by this means subsist in a world of their own choosing. Paradoxically, we see the diagonal axis representing the inner ego curve back and forth, suggesting unreliability. The spectator is drawn by the relationship of the spectator of the image into the world of duty, responsibility, discipline and work. The viewer is drawn by the outstanding aesthetic sensibility of the piece into the world of measure when calculating long periods of time. The artist employs a rectangular grid to restrict the colours, which therefore float free. The endless curves are forever engraved in a glorious send-up of constructive colour theory.
An important part of the drawing is that it is a division of space that parallels our innermost confusion.
``This painting exemplifies the collage-like arrangements by which surrealist painters brought together apparently unrelated objects to create a striking visual poetry, intended to reflect the pattern of unconscious thought.''
[Tate Gallery Guide, 1990, p.162]