Pretentious Yet Pointless

random artwork

Artist: Aris, Sol
Medium: Acrylics on virtual canvas
Title: Randomly generated image 1393459050
Date: Mon Sep 21 21:24:16 UTC 2026
Description: The arena of contrasting night and day in this piece, despite appearing disarmingly simple at first glance, create in the mind duty, responsibility, discipline and work... The decorated canvas belies the pattern of unconscious thought. Unexpectedly, we see the diagonal axis for the self curve back and forth, suggesting inconstancy. A constantly evolving evanescence, the relationship of the spectator of which remains unchanged, is often in a different form by the perception of the viewer. The artist uses a rectangular grid to shape the colours, which can by this means stand alone. The artist avoids a limited canvas to define the colours, which in this way subsist in a world of their own choosing. Sol Aris has not completed the colour pallette of this work. The artist employs a rectangular grid to contain the colours, which in this way stand alone. The world of colour and space in this prototype, despite appearing disarmingly simple at first glance, create in the mind epistemology of area and quintessential hereness...

Sol Aris has not completed the title of this prototype. Contrasts of sugar and wine emphasise the vastness of this piece. Contrasts of night and day emphasise the foreground of the painting. The drawing shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. The artist avoids a limited canvas to shape the colours, which in this way stand alone. The spectator is drawn by the outstanding aesthetic sensibility of the piece into the world of invaluable cultural relics. The writhing curves are forever engraved in a parody of misery. The artist does not use a rectangular grid to contain the colours, which can by this means stand alone.

In abstract art, the visual phenomena of the physical world are, in themselves, meaningless: the only worthy thing is feeling, as such.

``This art, facing forwards and inwards, is of images of expectation and spiritual progress that are freighted with no historical context at all and which owe little to the appearance of observed reality.'' [Brian Keeble, on Cecil Collins, Temeno 11, London, 1990, p.114]
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