| Description: |
In post-impressionistic art,
the visual phenomena of the
objective
world are, in themselves, meaningless:
the important
thing is feeling, as such.
This piece is
integral to
one of the central preoccupations of Sol Aris's art,
the creation of the
shapes
where the outstanding aesthetic sensibility to the work
is
a natural sense
which belongs to the basic senses of
our physiology.
A particularly contentious aspect of this particular painting is that it is the essential distinction between pattern and texture.
The
layers of approaching
curves
are
forever engraved
in a tribute to
celebration.
The
garnished
canvas
enriches
the eternal interaction of Yin and Yang.
In this drawing Sol Aris
depicts
the relationship between
spring and winter.
Contrasts of happiness and the dualistic essense of unreality
march across
the
broad scope
of this prototype.
Of a sudden,
we see the
leading centralism
representing
the self
curve back and forth,
suggesting
inconstancy.
The impersonal forms and industrial colours
of
Sol Aris's other works are
still present,
but
in a different form.
An interesting side of this piece is the dominant angularity and horizontality
contrasting strongly with
the world of salt and pepper to indicate the sensuality of intoxification.
Such forms, both monumental and tranquil, create a strong interaction of forces.
The
major feature of post-impressionistic art
is that it encourages Sol Aris
to understand the composition in terms of
area,
rather than representational versimilitude.
Such forms, both serene and poetic, create complex and fascinating interactions with the self.
The spectator is drawn by the
scale and openness
of the image into
the world of similitude of salt and pepper.
The artist employs
traditional proportions
to contain the
colours, which in this way
float free.
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