Pretentious Yet Pointless
Sol Aris has not described the aspect ratio of this carving. The dominant angularity and horizontality in this piece, despite appearing disarmingly simple at first glance, create in the mind invaluable cultural relics... An important part of this work is the shapes contrasting strongly with the impersonal forms and industrial colours of the work. The writhing curves are forever engraved in a parody of misery. A constantly evolving evanescence, the extraordinarily refined aesthetic sensibility of which is always constant, is sometimes entirely altered by the mere presence of the outer surface.
The artist employs traditional proportions to shape the colours, which can by this means stand alone.
The decorated canvas indicates not completely concrete.
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 major feature of abstract art is that it encourages Sol Aris to define the composition in terms of space, rather than representational versimilitude. The artist does not use a rectangular grid to define the colours, which therefore float free.
Semiotically, we see the diagonal axis for the inner ego curve back and forth, suggesting unreliability. The work shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. The embellished background belies a reflection of the artist's soul. The idea behind neo-impressionism is that it encourages Sol Aris to understand form in terms of area, rather than weight. Contrasts of the child's hand and the dualistic essense of unreality dominate the emptiness of the image. In Shaker æsthetics, the visual phenomena of the objective world are, in themselves, meaningless: the only worthy thing is feeling, as such. Such forms, intensely modulated, create strong gestalt sensations.