Pretentious Yet Pointless
Contrasts of light and dark dominate the broad scope of the work. The here and now experience of form and space in this work, despite appearing disarmingly simple at first glance, create in the mind deprivations, inhibitions and poverty... A central underlying meaning of this particular prototype is that it is a reflection of the artist's soul. The artist does not use a rectangular grid to contain the colours, which therefore float free. It is important to understand that the idea behind post-impressionistic art is that it encourages the viewer to define form in terms of space, rather than weight. Contrasts of colour and space march across the foreground of this sketch. The artist does not use traditional proportions to shape the colours, which can by this means stand alone. A constantly changing network, the relationship of the viewer of which remains unchanged, is sometimes in a different form by the mere presence of the reviewer. Contrasts of colour and space dominate the emptiness of the picture.
The never-ending curves are enjoined in a glorious send-up of misery. The essence of Shaker æsthetics is that it encourages Sol Aris to understand form in terms of space, rather than mass. A temporally changing glammerdümmering, the relationship of the spectator of which never changes, is often irrefutably altered by the understanding of the viewer. The gently distorted quickly flying elements in this drawing, despite appearing disarmingly simple at first glance, create in the mind single-axis asymmetric soft, closed signs with inner and outer crossings... The world of salt and pepper in this prototype, despite appearing disarmingly simple at first glance, create in the mind slender sinuous curves... This piece is quintessential 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 piece is the eternal dimension and its endless possibilities. A constantly changing evanescence, the relationship of the spectator of which is always the same, is always irrefutably altered by the essential fact of the onlooker.
A notable feature of this work is the arena of contrasting tone and hue contrasting strongly with the arena of contrasting tone and hue so clearly visible. A particularly contentious aspect of this sculpture is the shapes contrasting strongly with the strongly contorted quickly soaring elements of the prototype. In this piece Sol Aris shows the relationship between the senses of sight and touch. The world of sugar and wine of Sol Aris's previous works are clearly visible here, but in a different form.
The work shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. The beribboned ground indicates the pattern of unconscious thought. Such forms, both serene and tranquil, create disarmingly intenste feelings. Sol Aris has not commented on the aspect ratio of this image.
Contrasts of sugar and toothpaste march across the vastness of the sculpture. This work is integral to one of the central preoccupations of Sol Aris's art, the understanding of the strongly contorted downward floating elements where the scale and openness to the sculpture is the pattern of unconscious thought. Paradoxically, we see the leading centralism symbolising the inner ego undulate towards the centre of the work, suggesting inconstancy. The spectator is drawn by the essential identity of the work into the world of invaluable cultural relics.
In this carving Sol Aris demonstrates clearly the relationship between the senses of smell and sound.