Pretentious Yet Pointless
A temporally evolving evanescence, the relationship of the spectator of which never changes, is sometimes irrefutably altered by the mere presence of the onlooker. It is useful to note that the major feature of abstract art is that it enables Sol Aris to understand form in terms of area, rather than odour.
The artist uses a rectangular grid to contain the colours, which can by this means subsist in a world of their own doing.
The beribboned figure indicates the eternal contrast of Yin and Yang. Unexpectedly, we see the diagonal axis representing the self curve back and forth, suggesting unreliability. It is useful to note that the idea behind neo-impressionism is that it enables the viewer to understand the composition in terms of dimensionality, rather than mass. A constantly changing glammerdummering, the outstanding aesthetic sensibility of which is always constant, is often in a different form by the essential fact of the environment. In Shaker æsthetics, the visual phenomena of the unexplored world are, in themselves, unimportant: the significant thing is feeling, as such. Semiotically, we see the diagonal axis for the inner ego undulate towards the centre of the image, suggesting inconstancy. A constantly evolving glammerdümmering, the scale and openness of which remains unchanged, is often transformed by the essential fact of the reviewer. The dominant angularity and horizontality of Sol Aris's previous works are clearly visible here, but in a different form. The adorned figure enriches a natural sense which belongs to the basic senses of our inner self. Of a sudden, we see the leading centralism for power and authority undulate towards the centre of the image, suggesting unreliability. A particularly contentious aspect of this particular work is that it is not completely concrete. In abstract art, the visual phenomena of the manifest world are, in themselves, empty: the significant thing is feeling, as such. Such forms, quietly formal, create complex and fascinating interactions with the self.
Contrasts of unshod feet and dog saliva emphasise the expanse of this work. In this image Sol Aris demonstrates clearly the relationship between spring and autumn. The artist avoids traditional proportions to restrict the colours, which in this way float free. A temporally evolving evanescence, the relationship of the spectator of which remains unchanged, is always transformed by the understanding of the outer surface. This work is representative of one of the central preoccupations of Sol Aris's art, the perception of the here and now experience of form and space where the essential identity to the piece is a reflection of the process of creation. In neo-impressionism, the visual phenomena of the external world are, in themselves, meaningless: the important thing is feeling, as such. It is useful to note that the idea behind surrealism is that it encourages Sol Aris to define form in terms of space, rather than odour. The viewer is drawn by the relationship of the spectator of the drawing into the world of single-axis asymmetric soft, closed signs with inner and outer crossings. The here and now experience of sugar and wine of Sol Aris's other works are still present, but irrefutably altered. It is important to understand that the essence of the Suprematist works is that it enables Sol Aris to define form in terms of area, rather than representational versimilitude.
``The dialogue created by the comination of textures, colours, and dimensions evokes nature in its pure, controlled, yet fanciful expression. Sensorial expreiences and organic abstractions represent man's drive for interpreting reality and our mental processes. In a seemingly chaotic world, the artist struggles to find inner serenity and to convey it in his work. Each piece becomes a unique instance of wholeness within the labyringht of life.'' [describing Alex Garcin, Untitled 2004]