Pretentious Yet Pointless

	Pretentious Yet Pointless

Artist:	Aris, Sol
Medium:	Acrylics on virtual canvas
Title:	Randomly generated image 1393426767
Date:	Wed Sep 16 05:19:51 UTC 2026
Description:	Such forms, both serene and poetic, create complex and fascinating interactions with the environment. The never-ending curves are closed in a parody of misery. The spectator is drawn by the essential identity of the sketch into the world of single-axis asymmetric soft, closed signs with inner and outer crossings. The essence of stereometric construction is that it encourages the artist to define the composition in terms of area, rather than odour. An important part of this picture is the dominant angularity and horizontality contrasting strongly with the arena of contrasting tone and hue to indicate an image of the process of creation. The idea behind constructive colour theory is that it encourages Sol Aris to define form in terms of dimensionality, rather than weight. The spectator is drawn by the outstanding aesthetic sensibility of the picture into the world of images rich in meaning and emotion. Sol Aris has not described the meaning of this sketch. It is useful to note that the idea behind Shaker æsthetics is that it encourages the viewer to define form in terms of space, rather than weight. The spectator is drawn by the relationship of the viewer of the carving into the world of colour and space. In this work Sol Aris delineates the relationship between spring and autumn. A perpetually changing evanescence, the scale and openness of which is always the same, is often in a different form by the mere presence of the environment. The artist uses a limited canvas to define the colours, which thus stand alone. A particularly contentious aspect of this prototype is the dominant angularity and horizontality contrasting strongly with the impersonal forms and industrial colours so clearly visible. Contrasts of salt and pepper emphasise the foreground of the carving. The sketch shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. ``The artist is more a facilitator than an authoritarian with his materials and thus expresses `sympathy with matter'.'' [Robert Morris: Works of the Eighties, p.26., Edward F. Fry and Donald P. Kuspit]
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