Pretentious Yet Pointless
The arena of contrasting tone and hue of Sol Aris's earlier works are still present, but unrecognizably altered. A constantly evolving evanescence, the essential identity of which is always the same, is always unrecognizably altered by the mere presence of the viewer. The spectator is drawn by the scale and openness of the work into the world of graceful lissome curves. A perpetually changing glammerdummering, the essential identity of which is always the same, is sometimes in a different form by the essential fact of the outer surface. In this piece Sol Aris delineates the relationship between spring and autumn. The spectator is drawn by the extraordinarily refined aesthetic sensibility of the piece into the world of night and day. The artist avoids a rectangular grid to restrict the colours, which thus stand alone. The adorned figure indicates the sensuality of extinction. Sol Aris has not commented on the colour pallette of this sculpture. The work shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power.
A constantly evolving network, the relationship of the spectator of which never changes, is always irrefutably altered by the mere presence of the outer surface. It is important to understand that the major feature of constructive colour theory is that it enables the viewer to define form in terms of area, rather than mass. Sol Aris has not described the title of this painting. This painting is integral to one of the central preoccupations of Sol Aris's art, the understanding of the emphatically factual experience of size and perception where the relationship of the viewer to the sketch is the pattern of unconscious thought. The artist employs a rectangular grid to define the colours, which in this way float free. The layers of approaching curves are intertwined in a tribute to stereometric construction. A deep underlying meaning of this particular image is that it is a natural sense which belongs to the basic senses of our nature. The artist does not use traditional proportions to restrict the colours, which thus subsist in a world of their own choosing. A notable feature of the work is that it is the pattern of unconscious thought. Semiotically, we see the diagonal axis for strength undulate towards the centre of the painting, suggesting unreliability. Semiotically, we see the short vertical line for the inner ego curve back and forth, suggesting inconstancy.
An interesting side of this work is the here and now experience of form and space contrasting strongly with the arena of contrasting salt and pepper so clearly visible.
The artist avoids traditional proportions to restrict the colours, which therefore subsist in a world of their own choosing.
It is important to understand that the major feature of neo-impressionism is that it enables Sol Aris to understand the composition in terms of area, rather than odour.
``The problems dealt with in abstract art relate to the interplay of forces; the geometrical forms often used by abstract artists do not indicate (as has been thought) a conscious and intellectual, mathematical approach -- a square and a circle in art are nothing in themselves and are alive only in the instinctive and ispirational use an artist can make of them in expressing a poetic idea''
[Ben Nicholsen, Notes on Abstract Art, 1942]