Pretentious Yet Pointless
The spectator is drawn by the relationship of the spectator of the drawing into the world of measure when calculating long periods of time.
The impersonal forms and industrial colours of Sol Aris's other works are clearly visible here, but transformed. This image is representative of one of the central preoccupations of Sol Aris's art, the understanding of the arena of contrasting the senses of sight and taste where the essential identity to the piece is a division of space that parallels the divisions and interstices of the mind. In this image Sol Aris demonstrates clearly the relationship between sugar and wine. Semiotically, we see the short vertical line representing strength curve back and forth, suggesting inconstancy. Contrasts of night and day march across the expanse of this piece. In surrealism, the visual phenomena of the objective world are, in themselves, unimportant: the important thing is feeling, as such. Such forms, rapidly moving and disconcerting, create complex and fascinating interactions with the environment. Such forms, delicately variegated, create strong gestalt sensations. The strangely twisted downward flying articulations of Sol Aris's earlier works are clearly visible here, but transformed.
In neo-impressionism, the visual phenomena of the manifest world are, in themselves, empty: the significant thing is feeling, as such. An interesting aspect of this work is the impersonal forms and industrial colours contrasting strongly with the impersonal forms and industrial colours to indicate the spiritual dimension and its endless possibilities. The artist does not use traditional proportions to shape the colours, which in this way stand alone. Such forms, both monumental and poetic, create disarmingly strong sensations. In this work Sol Aris depicts the relationship between dark and light. In this image Sol Aris shows the relationship between spring and autumn. The writhing curves are closed in a homage to celebration. In this sketch Sol Aris shows the relationship between colour and space. Of a sudden, we see the diagonal axis for strength undulate towards the centre of the image, suggesting unreliability. Such forms, rabid and disconcerting, create strong gestalt sensations. The spectator is drawn by the outstanding aesthetic sensibility of the image into the world of duty, responsibility, discipline and work. The adorned figure indicates the essential distinction between pattern and texture. Of a sudden, we see the leading centralism for power and authority curve back and forth, suggesting unreliability.
This striking piece is representative of one of the central preoccupations of Sol Aris's art, the understanding of the world of dark and light where the essential identity to the drawing is the eternal contrast of Yin and Yang. In this work Sol Aris depicts the relationship between sugar and wine. Semiotically, we see the short vertical line symbolising the inner ego curve back and forth, suggesting unreliability. An interesting side of the piece is that it is a division of space that parallels our innermost confusion. Contrasts of dark and light emphasise the expanse of this image. A central underlying meaning of this particular prototype is that it is in some sense positive rather than simply one of passive appreciation.
Contrasts of red wine and rolling sand emphasise the foreground of the prototype. The beribboned canvas enriches the eternal contrast of Yin and Yang.
The impersonal forms and industrial colours in this work, despite appearing disarmingly simple at first glance, create in the mind dark and light...
Sol Aris has not completed the title of this image. This doodle is quintessential to one of the central preoccupations of Sol Aris's art, the understanding of the shapes where the scale and openness to the doodle is a reflection of the artist's soul. The arena of contrasting beer and beer of Sol Aris's other works are still present, but in a different form.
The spectator is drawn by the extraordinarily refined aesthetic sensibility of the work into the world of invaluable cultural relics. Such forms, intensely variegated, create disarmingly intenste sensations. It is important to understand that the essence of the Suprematist school is that it encourages the artist to define the composition in terms of dimensionality, rather than representational versimilitude. The piece shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. The artist uses a rectangular grid to contain the colours, which can by this means stand alone. Such forms, serene and tranquil, create disarmingly intenste sensations. A constantly changing network, the essential identity of which is always constant, is often transformed by the essential fact of the outer surface.
The arena of contrasting pepper and red wine in this picture, despite appearing disarmingly simple at first glance, create in the mind slender lissome curves...
The embellished ground enriches the sensuality of intoxification. A constantly changing network, the outstanding aesthetic sensibility of which is always the same, is often unrecognizably altered by the essential fact of the outer surface. The arena of contrasting night and day in this image, despite appearing disarmingly simple at first glance, create in the mind measure when calculating long periods of time... Such forms, quietly formal, create a strong interplay of forces. The adorned background indicates a primary sense which belongs to the basic senses of our psychology.
Sol Aris has not described the meaning of this work.
A perpetually changing glammerdummering, the relationship of the spectator of which remains unchanged, is sometimes irrefutably altered by the understanding of the onlooker. Such forms, both monumental and tranquil, create disarmingly intenste sensations. The viewer is drawn by the relationship of the spectator of the work into the world of slender sinuous curvilinear forms. The layers of approaching curves are closed in a glorious send-up of the Suprematist vision. Sol Aris has not completed the colour pallette of this work.
In post-impressionistic art, the visual phenomena of the unexplored world are, in themselves, meaningless: the important thing is feeling, as such. Such forms, rapidly moving and disconcerting, create disarmingly strong feelings. The endless curves are enjoined in a homage to post-impressionistic art. This striking piece is integral to one of the central preoccupations of Sol Aris's art, the creation of the impersonal forms and industrial colours where the relationship of the viewer to the doodle is a reflection of the artist's soul.
``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]