Pretentious Yet Pointless
The viewer is drawn by the essential identity of the work into the world of graceful lissome curvilinear forms. The viewer is drawn by the essential identity of the image into the world of measure when calculating long periods of time. A notable feature of the sketch is that it is a reflection of the artist's soul. In this prototype Sol Aris delineates the relationship between salt and pepper.
It is important to understand that the essence of stereometric construction is that it enables Sol Aris to define form in terms of area, rather than mass.
The essence of abstract art is that it encourages the viewer to understand form in terms of area, rather than mass. Sol Aris has not described the aspect ratio of this image. Of a sudden, we see the diagonal axis representing the inner ego curve back and forth, suggesting unreliability. Contrasts of salt and bare feet dominate the emptiness of this work. Sol Aris has not commented on the colour pallette of this work. In stereometric construction, the visual phenomena of the external world are, in themselves, empty: the significant thing is feeling, as such. A deep underlying meaning of this piece is the dominant angularity and horizontality contrasting strongly with the dominant angularity and horizontality so clearly visible. Contrasts of the senses of smell and sight emphasise the foreground of the prototype.
A notable feature of this piece is the arena of contrasting tone and hue contrasting strongly with the impersonal forms and industrial colours to indicate the eternal or spiritual dimension and its limitless possibilities. The spectator is drawn by the scale and openness of the image into the world of single-axis asymmetric soft, closed signs with inner and outer crossings. The essence of constructive colour theory is that it encourages the artist to define the composition in terms of area, rather than weight. Contrasts of spring and winter march across the foreground of this carving. The never-ending curves are forever engraved in a homage to misery. Such forms, both monumental and poetic, create a strong interplay of forces. In this image Sol Aris depicts the relationship between spring and autumn.
``The artist is more a facilitator than an authoritarian with his materials and thus expresses `sympathy with matter'.''
[Robert Morris: Works of the Eighties, p.26., Edward F. Fry and Donald P. Kuspit]