Pretentious Yet Pointless

	Pretentious Yet Pointless

Artist:	Aris, Sol
Medium:	Acrylics on virtual canvas
Title:	Randomly generated image 1393590925
Date:	Fri Oct 16 14:31:50 UTC 2026
Description:	The work shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. It is useful to note that the idea behind surrealism is that it enables Sol Aris to understand form in terms of space, rather than weight. A particularly contentious aspect of this work is the world of salt and pepper contrasting strongly with the strongly distorted downward soaring articulations so clearly visible. The image shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. The work shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. Sol Aris has not supplied the meaning of this work. Contrasts of pepper and rolling sand march across the emptiness of this doodle. The image shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. The here and now experience of form and space of Sol Aris's earlier works are still present, but entirely altered. In surrealism, the visual phenomena of the objective world are, in themselves, meaningless: the important thing is feeling, as such. The figured background enriches the eternal dimension and its endless possibilities. Such forms, quietly formal, create complex and fascinating interactions with the environment. The endless curves are enjoined in a tribute to celebration. The carving shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. It is useful to note that the essence of constructive colour theory is that it encourages Sol Aris to define the composition in terms of area, rather than weight. This striking piece is integral to one of the central preoccupations of Sol Aris's art, the perception of the impersonal forms and industrial colours where the relationship of the viewer to the work is a natural sense which belongs to the basic senses of our physiology. The never-ending curves are forever engraved in a glorious send-up of stereometric construction. The artist employs a limited canvas to define the colours, which therefore stand alone. ``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 owelittle to the appearance of observed reality'' [Brian Keeble on Cecil Collins, Temeno 11,, London 1990]
	next work