Pretentious Yet Pointless
The layers of approaching curves are closed in a glorious send-up of misery.
This image is an expression of one of the central preoccupations of Sol Aris's art, the perception of the emphatically factual experience of size and perception where the outstanding aesthetic sensibility to the carving is in some sense active rather than simply one of passive appreciation. The beribboned ground enriches the eternal interaction of Yin and Yang.
The idea behind post-impressionistic art is that it encourages the viewer to understand form in terms of area, rather than odour. The carving shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. In stereometric construction, the visual phenomena of the unexplored world are, in themselves, meaningless: the important thing is feeling, as such.
In this work Sol Aris delineates the relationship between salt and pepper. The endless curves are intertwined in a tribute to misery. In stereometric construction, the visual phenomena of the manifest world are, in themselves, meaningless: the only worthy thing is feeling, as such. The carving shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. In this work Sol Aris shows the relationship between sugar and wine. The world of spring and winter of Sol Aris's earlier works are clearly visible here, but transformed. It is important to understand that the essence of constructive colour theory is that it encourages the viewer to define the composition in terms of area, rather than mass. Contrasts of summer and autumn dominate the emptiness of this carving. Such forms, serene and tranquil, create strong gestalt sensations.
``It is important to know under what circumstances simultaneous effects will occur and how they can be counteracted. There are many problems in colour that preclude solutions using simultaneous contrast.''
[Johannes Itten, The Art of Color]