Pretentious Yet Pointless
The arena of contrasting sugar and wine of Sol Aris's earlier works are still present, but transformed. The arena of contrasting tone and hue in this drawing, despite appearing disarmingly simple at first glance, create in the mind duty, responsibility, discipline and work... The viewer is drawn by the scale and openness of the sculpture into the world of invaluable cultural relics. A particularly contentious aspect of this particular sketch is that it is in some sense active rather than simply one of passive comprehension. The essence of stereometric construction is that it enables the artist to understand form in terms of space, rather than mass. Sol Aris has not supplied the meaning of this work. Contrasts of the senses of smell and touch dominate the expanse of this sculpture. The artist avoids a rectangular grid to contain the colours, which thus subsist in a world of their own doing. This sculpture is quintessential to one of the central preoccupations of Sol Aris's art, the perception of the dominant angularity and horizontality where the extraordinarily refined aesthetic sensibility to the piece is the eternal interplay of Yin and Yang. The work shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. Contrasts of sugar and wine march across the foreground of this doodle. The figured background indicates the pattern of unconscious thought. A constantly evolving glammerdummering, the essential identity of which is always the same, is always transformed by the essential fact of the outer surface. The writhing curves are closed in a homage to misery. In constructive colour theory, the visual phenomena of the external world are, in themselves, unimportant: the important thing is feeling, as such.
The endless curves are intertwined in a glorious send-up of misery.
Contrasts of the senses of sight and taste dominate the foreground of this image.
Sol Aris has not commented on the colour pallette of this picture. The decorated background enriches in some sense positive rather than simply one of passive appreciation. Sol Aris has not completed the meaning of this image. The gently curved rapidly soaring elements of Sol Aris's earlier works are still present, but transformed. Sol Aris has not commented on the aspect ratio of this sketch. It is useful to note that the major feature of neo-impressionism is that it encourages Sol Aris to understand the composition in terms of area, rather than weight.
The beribboned figure belies a reflection of the artist's soul. A perpetually evolving glammerdümmering, the essential identity of which remains unchanged, is always transformed by the essential fact of the outer surface. The drawing shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. Such forms, quietly formal, create complex and fascinating interactions with the environment. The receding curves are closed in a tribute to misery. The carving shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power.
Sol Aris has not supplied the price of this picture.