Pretentious Yet Pointless
In this painting Sol Aris shows the relationship between night and day. In this carving Sol Aris shows the relationship between the senses of smell and taste. This image is representative of one of the central preoccupations of Sol Aris's art, the understanding of the shapes where the outstanding aesthetic sensibility to the piece is a division of space that parallels the divisions and interstices of the mind. Sol Aris has not supplied the price of this carving. Such forms, quietly formal, create complex and fascinating interactions with the self. The garnished canvas indicates in some sense active rather than simply one of passive appreciation.
The writhing curves are intertwined in a homage to the Suprematist vision.
The endless curves are closed in a glorious send-up of misery. Sol Aris has not supplied the meaning of this image. A perpetually evolving glammerdummering, the extraordinarily refined aesthetic sensibility of which is always constant, is sometimes unrecognizably altered by the understanding of the environment. An important part of the work is that it is an image of the process of creation. The beribboned background belies the eternal interaction of Yin and Yang. A notable feature of the picture is that it is a division of space that parallels the divisions and interstices of the mind. A temporally changing evanescence, the essential identity of which never changes, is sometimes unrecognizably altered by the mere presence of the reviewer. A particularly contentious aspect of this sculpture is the dominant angularity and horizontality contrasting strongly with the here and now experience of dark and light of the doodle. In post-impressionistic art, the visual phenomena of the unexplored world are, in themselves, meaningless: the only worthy thing is feeling, as such. The sculpture shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power.
Sol Aris has not described the aspect ratio of this sculpture. The endless curves are intertwined in a tribute to misery. The artist employs a rectangular grid to contain the colours, which can by this means subsist in a world of their own choosing. Such forms, rapidly moving and disconcerting, create complex and fascinating interactions with the environment.
A central underlying meaning of this sketch is the strongly distorted quickly flying elements contrasting strongly with the subtly contorted quickly flying elements so clearly visible.
``The artist is more a facilitator than an authoritarian with his materials and thus expresses `sympathy with matter'.''
[Robert Morris: Works of the Eighties, p.26., Edward F. Fry and Donald P. Kuspit]