Pretentious Yet Pointless

	Pretentious Yet Pointless

Artist:	Aris, Sol
Medium:	Acrylics on virtual canvas
Title:	Randomly generated image 1393316625
Date:	Sat Aug 22 04:07:54 UTC 2026
Description:	Sol Aris has not commented on the title of this image. This striking piece is an expression of one of the central preoccupations of Sol Aris's art, the understanding of the impersonal forms and industrial colours where the relationship of the viewer to the painting is not completely concrete. The endless curves are intertwined in a parody of misery. The viewer is drawn by the relationship of the viewer of the work into the world of graceful lissome curves. A particularly contentious aspect of this prototype is the arena of contrasting sugar and wine contrasting strongly with the arena of contrasting the senses of sight and sound to indicate the pattern of unconscious thought. An interesting side of this work is the dominant angularity and horizontality contrasting strongly with the strongly curved quickly reaching elements so clearly visible. It is important to understand that the idea behind abstract art is that it enables Sol Aris to define form in terms of space, rather than weight. Contrasts of pepper and the joy of the singing mountain dominate the vastness of this image. The spectator is drawn by the outstanding aesthetic sensibility of the sculpture into the world of duty, responsibility, discipline and work. In abstract art, the visual phenomena of the unexplored world are, in themselves, empty: the only worthy thing is feeling, as such. The artist employs traditional proportions to restrict the colours, which thus stand alone. The embellished canvas belies a division of space that parallels the divisions and interstices of the mind. Semiotically, we see the short vertical line representing the inner ego undulate towards the centre of the sketch, suggesting inconstancy. ``This art, facing forwards and inwards, is of images of expectation and spiritual progress that are freighted with no historical context at all and which owelittle to the appearance of observed reality'' [Brian Keeble on Cecil Collins, Temeno 11,, London 1990]
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