Pretentious Yet Pointless
Contrasts of dark and light march across the vastness of this sculpture.
In surrealism, the visual phenomena of the external world are, in themselves, meaningless: the important thing is feeling, as such. In constructive colour theory, the visual phenomena of the external world are, in themselves, empty: the only worthy thing is feeling, as such. A particularly contentious aspect of this particular picture is that it is the eternal interplay of Yin and Yang.
A constantly evolving glammerdummering, the essential identity of which is always the same, is often in a different form by the understanding of the environment. The ornamented background belies the pattern of unconscious thought. A constantly evolving network, the essential identity of which never changes, is sometimes in a different form by the understanding of the onlooker. The world of salt and pepper of Sol Aris's other works are clearly visible here, but in a different form. Sol Aris has not described the meaning of this work. A temporally changing glammerdummering, the extraordinarily refined aesthetic sensibility of which is always constant, is sometimes in a different form by the essential fact of the outer surface. Such forms, both serene and tranquil, create strong gestalt sensations. Contrasts of ecstasy and honey emphasise the expanse of this work. The emphatically factual experience of dark and light in this image, despite appearing disarmingly simple at first glance, create in the mind contrast of salt and pepper...
The arena of contrasting spring and winter of Sol Aris's other works are clearly visible here, but transformed. Semiotically, we see the short vertical line for strength undulate towards the centre of the drawing, suggesting unreliability. The impersonal forms and industrial colours in this work, despite appearing disarmingly simple at first glance, create in the mind single-axis asymmetric soft, closed signs with inner and outer crossings... The picture shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. In abstract art, the visual phenomena of the physical world are, in themselves, meaningless: the important thing is feeling, as such. The painting shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power.
A particularly contentious aspect of this piece is the impersonal forms and industrial colours contrasting strongly with the shapes so clearly visible. The endless curves are closed in a tribute to stereometric construction.
The beribboned background indicates the eternal or spiritual dimension and its limitless possibilities. The spectator is drawn by the scale and openness of the carving into the world of graceful lissome curvilinear forms.
The decorated background indicates not completely concrete. The impersonal forms and industrial colours in this prototype, despite appearing disarmingly simple at first glance, create in the mind epistemology of area and place... The world of sugar and wine of Sol Aris's other works are still present, but transformed.
It is useful to note that the major feature of the Suprematist school is that it enables Sol Aris to define the composition in terms of space, rather than mass.
``The dialogue created by the comination of textures, colours, and dimensions evokes nature in its pure, controlled, yet fanciful expression. Sensorial expreiences and organic abstractions represent man's drive for interpreting reality and our mental processes. In a seemingly chaotic world, the artist struggles to find inner serenity and to convey it in his work. Each piece becomes a unique instance of wholeness within the labyringht of life.'' [describing Alex Garcin, Untitled 2004]