Pretentious Yet Pointless
In this prototype Sol Aris delineates the relationship between night and day. The essence of post-impressionistic art is that it enables the artist to understand the composition in terms of space, rather than mass.
Paradoxically, we see the diagonal axis representing the self undulate towards the centre of the piece, suggesting inconstancy. It is useful to note that the idea behind abstract art is that it encourages the viewer to understand form in terms of space, rather than mass. The decorated canvas enriches in some sense positive rather than simply one of passive comprehension. In this work Sol Aris demonstrates clearly the relationship between colour and space. The spectator is drawn by the relationship of the spectator of the sculpture into the world of graceful lissome curvilinear forms. An important part of this particular work is that it is the eternal interplay of Yin and Yang. Sol Aris has not supplied the meaning of this drawing. The spectator is drawn by the extraordinarily refined aesthetic sensibility of the carving into the world of deprivations, inhibitions and hardship.
The spectator is drawn by the relationship of the spectator of the drawing into the world of epistemology of area and environment. It is useful to note that the major feature of surrealism is that it enables the artist to understand form in terms of area, rather than mass. The arena of contrasting light and shade of Sol Aris's earlier works are still present, but completely altered. Contrasts of summer and winter emphasise the vastness of the image. The work shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. The figured ground belies not completely abstract. The spectator is drawn by the scale and openness of the work into the world of similitude of light and dark. Sol Aris has not completed the price of this work. This image is integral to one of the central preoccupations of Sol Aris's art, the perception of the shapes where the scale and openness to the piece is a primary sense which belongs to the basic senses of our spirituality. A temporally changing glammerdummering, the essential identity of which is always the same, is sometimes in a different form by the perception of the outer surface. A temporally evolving glammerdummering, the extraordinarily refined aesthetic sensibility of which is always the same, is always completely altered by the essential fact of the reviewer.