Pretentious Yet Pointless

	Pretentious Yet Pointless

Artist:	Aris, Sol
Medium:	Acrylics on virtual canvas
Title:	Randomly generated image 1393447023
Date:	Sat Sep 19 16:44:30 UTC 2026
Description:	In constructive colour theory, the visual phenomena of the manifest world are, in themselves, unimportant: the significant thing is feeling, as such. The painting shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. In post-impressionistic art, the visual phenomena of the unexplored world are, in themselves, meaningless: the important thing is feeling, as such. The viewer is drawn by the extraordinarily refined aesthetic sensibility of the drawing into the world of dark and light. The subtly curved downward flying components of Sol Aris's previous works are clearly visible here, but unrecognizably altered. In neo-impressionism, the visual phenomena of the manifest world are, in themselves, meaningless: the only worthy thing is feeling, as such. Such forms, both serene and tranquil, create strong gestalt sensations. The shapes in this image, despite appearing disarmingly simple at first glance, create in the mind measure when calculating long periods of time... In Shaker æsthetics, the visual phenomena of the unexplored world are, in themselves, empty: the important thing is feeling, as such. The spectator is drawn by the scale and openness of the piece into the world of slender lissome curvilinear forms. An interesting side of the work is that it is a primary sense which belongs to the basic senses of our physiology. A notable feature of the piece is that it is the eternal interaction of Yin and Yang. The shapes of Sol Aris's earlier works are still present, but in a different form. A particularly contentious aspect of this particular painting is that it is a division of space that parallels the divisions and interstices of the mind. In surrealism, the visual phenomena of the unexplored world are, in themselves, unimportant: the only worthy thing is feeling, as such. Such forms, both serene and poetic, create strong gestalt sensations. The dominant angularity and horizontality of Sol Aris's other works are clearly visible here, but in a different form. The ornamented canvas enriches the eternal interaction of Yin and Yang. In neo-impressionism, the visual phenomena of the physical world are, in themselves, empty: the important thing is feeling, as such. The decorated figure belies the sensuality of intoxification. A temporally evolving network, the extraordinarily refined aesthetic sensibility of which is always constant, is always unrecognizably altered by the mere presence of the reviewer. A particularly contentious aspect of the work is that it is the eternal contrast of Yin and Yang. ``What does it all mean? I have little idea... It seems to make use of an abstract idiom which is skirting very near to mere decorative doodling, rather intricately pretty, and yet it is clearly nothing to do with decoration because it's too obsessed.'' [Tate Gallery Guide, 1990, p.232]
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