Pretentious Yet Pointless | |
| Artist: | Aris, Sol |
| Medium: | Acrylics on virtual canvas |
| Title: | Randomly generated image 1134573975 |
| Date: | Fri Nov 13 16:33:08 UTC 2026 |
| Description: |
This striking piece is
quintessential to
one of the central preoccupations of Sol Aris's art,
the perception of the
dominant angularity and horizontality
where the essential identity to the piece
is
the pattern of unconscious thought.
In this work Sol Aris
demonstrates clearly
the relationship between
ecstasy and the dualistic essense of unreality.
In Shaker æsthetics,
the visual phenomena of the
external
world are, in themselves, meaningless:
the only worthy
thing is feeling, as such.
Sol Aris has not commented on the
colour pallette
of this image.
The here and now experience of
form and space
of
Sol Aris's previous works are
still present,
but
transformed.
This image is
quintessential to
one of the central preoccupations of Sol Aris's art,
the creation of the
dominant angularity and horizontality
where the relationship of the viewer to the piece
is
the pattern of unconscious thought.
The sculpture shares not only Sol Aris's
death-identification
but also his cosmic perspective and obsession with power.
The world of donkey hair and bare feet
of
Sol Aris's earlier works are
clearly visible here,
but
transformed.
A deep underlying meaning of this picture is the dominant angularity and horizontality
contrasting strongly with
the arena of contrasting tone and hue so clearly visible.
This striking piece is
an expression of
one of the central preoccupations of Sol Aris's art,
the understanding of the
arena of contrasting dark and light
where the relationship of the spectator to the piece
is
a reflection of the process of creation.
The world of sugar and wine
of
Sol Aris's other works are
still present,
but
transformed.
``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] |
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