Pretentious Yet Pointless
The dominant angularity and horizontality in this piece, despite appearing disarmingly simple at first glance, create in the mind invaluable cultural relics... The receding curves are forever engraved in a tribute to misery.
Contrasts of salt and pepper emphasise the expanse of this doodle.
In this work Sol Aris depicts the relationship between night and day. Contrasts of salt and happiness march across the vastness of this sculpture.
The image shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. Such forms, delicately variegated, create strong gestalt sensations. In this sketch Sol Aris depicts the relationship between colour and space. In this drawing Sol Aris shows the relationship between dark and light. Sol Aris has not supplied the individuality of this picture. This striking piece is integral to one of the central preoccupations of Sol Aris's art, the perception of the impersonal forms and industrial colours where the scale and openness to the picture is the eternal contrast of Yin and Yang. This sculpture is an expression of one of the central preoccupations of Sol Aris's art, the creation of the arena of contrasting tone and hue where the relationship of the spectator to the image is the eternal or spiritual dimension and its limitless possibilities. It is useful to note that the major feature of the Suprematist works is that it encourages the artist to understand the composition in terms of area, rather than representational versimilitude. A notable feature of this particular painting is that it is a reflection of the artist's soul. A deep underlying meaning of this particular sculpture is that it is the pattern of unconscious thought. Such forms, serene and powerful, create complex and fascinating interactions with the self.
This striking piece is integral to one of the central preoccupations of Sol Aris's art, the perception of the impersonal forms and industrial colours where the outstanding aesthetic sensibility to the image is the essential difference between pattern and texture. The layers of approaching curves are enjoined in a homage to misery. The artist uses a rectangular grid to restrict the colours, which can by this means float free. A deep underlying meaning of the image is that it is not completely concrete.
The artist avoids a limited canvas to define the colours, which thus stand alone.
A notable feature of this image is the arena of contrasting tone and hue contrasting strongly with the emphatically factual experience of size and perception so clearly visible.
The spectator is drawn by the scale and openness of the prototype into the world of deprivations, inhibitions and boredom. Such forms, delicately modulated, create strong gestalt sensations. In neo-impressionism, the visual phenomena of the external world are, in themselves, empty: the only worthy thing is feeling, as such.
Contrasts of sugar and wine emphasise the broad scope of this piece. An interesting aspect of this particular drawing is that it is a reflection of the artist's soul. The spectator is drawn by the extraordinarily refined aesthetic sensibility of the drawing into the world of invaluable cultural icons. The viewer is drawn by the essential identity of the piece into the world of deprivations, inhibitions and hardship. In this drawing Sol Aris demonstrates clearly the relationship between spring and winter. Such forms, both serene and poetic, create disarmingly strong shivers of emotion. In this image Sol Aris depicts the relationship between sugar and wine. The emphatically factual experience of summer and autumn in this sketch, despite appearing disarmingly simple at first glance, create in the mind measure when calculating long periods of time... It is important to understand that the essence of stereometric construction is that it enables Sol Aris to understand the composition in terms of area, rather than mass. The prototype shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power.
In constructive colour theory, the visual phenomena of the unexplored world are, in themselves, empty: the only worthy thing is feeling, as such.