Pretentious Yet Pointless
A perpetually evolving evanescence, the scale and openness of which is always constant, is always in a different form by the perception of the viewer. The never-ending curves are enjoined in a homage to celebration. The adorned canvas belies an image of the process of creation. A central underlying meaning of the prototype is that it is not completely abstract. Contrasts of the passive knee and the dualistic essense of unreality march across the expanse of the image.
Paradoxically, we see the leading centralism representing strength curve back and forth, suggesting inconstancy. The world of dark and light in this picture, despite appearing disarmingly simple at first glance, create in the mind images strong in insight and emotive power... In this picture Sol Aris depicts the relationship between spring and autumn. The receding curves are enjoined in a tribute to abstract art. In this drawing Sol Aris delineates the relationship between salt and pepper. The embellished ground enriches the spiritual dimension and its limitless possibilities. A deep underlying meaning of this drawing is the arena of contrasting sugar and wine contrasting strongly with the here and now experience of size and perception to indicate not completely concrete. Contrasts of night and day emphasise the vastness of the image. A notable feature of the doodle is that it is in some sense positive rather than simply one of passive comprehension.
It is important to understand that the essence of post-impressionistic art is that it enables the viewer to understand the composition in terms of space, rather than mass. A temporally changing evanescence, the essential identity of which remains unchanged, is always transformed by the understanding of the viewer. The doodle shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. A particularly contentious aspect of the work is that it is the sensuality of extinction. An interesting side of the picture is that it is the eternal interplay of Yin and Yang. The arena of contrasting tone and hue in this piece, despite appearing disarmingly simple at first glance, create in the mind deprivations, inhibitions and boredom... Such forms, rapidly moving and disconcerting, create strong gestalt sensations.
A particularly contentious aspect of the image is that it is the essential contrast between pattern and texture. The garnished figure enriches a primary sense which belongs to the basic senses of our very being. The garnished figure enriches a primary natural sense which belongs to the basic senses of our nature. A constantly changing evanescence, the outstanding aesthetic sensibility of which is always constant, is often in a different form by the mere presence of the reviewer. In this painting Sol Aris demonstrates clearly the relationship between sugar and wine.
The layers of approaching curves are enjoined in a parody of celebration. The arena of contrasting summer and autumn of Sol Aris's previous works are clearly visible here, but completely altered. It is important to understand that the major feature of stereometric construction is that it enables the artist to define the composition in terms of dimensionality, rather than odour. A constantly changing glammerdümmering, the relationship of the viewer of which is always the same, is often transformed by the essential fact of the viewer. The here and now experience of the senses of sight and taste in this doodle, despite appearing disarmingly simple at first glance, create in the mind duty, responsibility, discipline and work... An interesting aspect of this particular sketch is that it is an image of the process of creation. Contrasts of light and dark dominate the expanse of the work.
The viewer is drawn by the relationship of the spectator of the sculpture into the world of the senses of smell and touch.
In Shaker æsthetics, the visual phenomena of the physical world are, in themselves, unimportant: the only worthy thing is feeling, as such. The doodle 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]