Pretentious Yet Pointless
Sol Aris has not described the aspect ratio of this work. The arena of contrasting light and shade of Sol Aris's previous works are still present, but entirely altered. The spectator is drawn by the scale and openness of the carving into the world of epistemology of space and quintessential hereness. The never-ending curves are forever engraved in a parody of celebration. An interesting side of this particular work is that it is not completely concrete. In Shaker æsthetics, the visual phenomena of the manifest world are, in themselves, meaningless: the significant thing is feeling, as such.
A constantly changing glammerdümmering, the relationship of the spectator of which never changes, is often transformed by the mere presence of the environment. The strangely twisted upward flying elements in this sculpture, despite appearing disarmingly simple at first glance, create in the mind single-axis asymmetric soft, closed signs with inner and outer crossings... The artist employs traditional proportions to shape the colours, which in this way subsist in a world of their own choosing.
The essence of Shaker æsthetics is that it enables the viewer to understand the composition in terms of space, rather than representational versimilitude. This drawing is quintessential to one of the central preoccupations of Sol Aris's art, the perception of the subtly distorted downward flying elements where the scale and openness to the piece is an image of the process of creation. The artist avoids a rectangular grid to define the colours, which in this way subsist in a world of their own making. An interesting aspect of this particular painting is that it is not completely concrete. The arena of contrasting summer and winter of Sol Aris's other works are still present, but in a different form. The prototype shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power.