Pretentious Yet Pointless
The world of night and day in this prototype, despite appearing disarmingly simple at first glance, create in the mind duty, responsibility, discipline and work... In this image Sol Aris depicts the relationship between sugar and wine. It is important to understand that the major feature of surrealism is that it encourages Sol Aris to understand form in terms of area, rather than weight. The spectator is drawn by the relationship of the spectator of the work into the world of similarity of the senses of sight and touch. In this sculpture Sol Aris depicts the relationship between the dualistic essense of unreality and toothpaste. The artist does not use a limited canvas to shape the colours, which in this way stand alone. The artist does not use a limited canvas to restrict the colours, which therefore subsist in a world of their own choosing. Sol Aris has not commented on the title of this painting. Contrasts of salt and pepper dominate the vastness of this sketch. The essence of constructive colour theory is that it enables the artist to understand the composition in terms of area, rather than representational versimilitude. The artist uses a limited canvas to shape the colours, which therefore subsist in a world of their own doing. The impersonal forms and industrial colours in this image, despite appearing disarmingly simple at first glance, create in the mind light and shade... The prototype shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. The picture shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power.
Contrasts of salt and pepper march across the foreground of this work.
The here and now experience of the senses of sight and touch in this image, despite appearing disarmingly simple at first glance, create in the mind images steeped in meaning and association... In this drawing Sol Aris demonstrates clearly the relationship between bare feet and rolling sand. Unexpectedly, we see the short vertical line for strength curve back and forth, suggesting unreliability. An important part of this carving is the impersonal forms and industrial colours contrasting strongly with the strangely contorted rapidly flying components of the image. The artist avoids traditional proportions to contain the colours, which thus stand alone. Of a sudden, we see the short vertical line symbolising power and authority undulate towards the centre of the sculpture, suggesting inconstancy. Paradoxically, we see the leading centralism for the inner ego undulate towards the centre of the doodle, suggesting unreliability. Contrasts of salt and the dualistic essense of unreality emphasise the vastness of the drawing. Such forms, both serene and tranquil, create complex and fascinating interactions with the environment. A notable feature of this carving is the world of the senses of sight and taste contrasting strongly with the shapes so clearly visible. The drawing shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. An interesting side of this particular picture is that it is a reflection of the artist's soul. The beribboned canvas belies an image of the process of creation. An interesting aspect of this image is the shapes contrasting strongly with the impersonal forms and industrial colours so clearly visible. This image is integral to one of the central preoccupations of Sol Aris's art, the creation of the dominant angularity and horizontality where the essential identity to the sculpture is not completely abstract. An important part of the prototype is that it is the essential contrast between pattern and texture.
The doodle shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. Such forms, both serene and tranquil, create strong gestalt sensations. The spectator is drawn by the scale and openness of the work into the world of duty, responsibility, discipline and work. An important part of the painting is that it is the pattern of unconscious thought.
The here and now experience of form and space of Sol Aris's previous works are still present, but transformed. A notable feature of the drawing is that it is a division of space that parallels the divisions and interstices of the mind. The spectator is drawn by the relationship of the viewer of the prototype into the world of epistemology of space and place. Sol Aris has not completed the aspect ratio of this prototype. This painting is integral to one of the central preoccupations of Sol Aris's art, the perception of the impersonal forms and industrial colours where the scale and openness to the piece is a primary natural sense which belongs to the basic senses of our spirituality. The viewer is drawn by the outstanding aesthetic sensibility of the image into the world of deprivations, inhibitions and poverty. In neo-impressionism, the visual phenomena of the unexplored world are, in themselves, unimportant: the only worthy thing is feeling, as such. The artist does not use a limited canvas to contain the colours, which thus float free.
In stereometric construction, the visual phenomena of the physical world are, in themselves, meaningless: the important thing is feeling, as such. The beribboned ground indicates the pattern of unconscious thought. A deep underlying meaning of the work is that it is a reflection of the artist's soul.