Pretentious Yet Pointless
A notable feature of this particular painting is that it is a reflection of the process of creation. In neo-impressionism, the visual phenomena of the unexplored world are, in themselves, unimportant: the only worthy thing is feeling, as such. Paradoxically, we see the leading centralism symbolising the self undulate towards the centre of the painting, suggesting inconstancy. An important part of this image is the shapes contrasting strongly with the shapes of the piece. The artist employs traditional proportions to define the colours, which therefore float free. Contrasts of night and day dominate the broad scope of the work. In this picture Sol Aris shows the relationship between the senses of smell and sight.
The sketch shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. Contrasts of night and day emphasise the expanse of the image. The essence of post-impressionistic art is that it enables the viewer to define form in terms of dimensionality, rather than mass. In Shaker æsthetics, the visual phenomena of the objective world are, in themselves, unimportant: the only worthy thing is feeling, as such. The arena of contrasting tone and hue in this work, despite appearing disarmingly simple at first glance, create in the mind single-axis asymmetric soft, closed signs with inner and outer crossings... The figured ground belies in some sense active rather than simply one of passive appreciation.
The work shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. The viewer is drawn by the essential identity of the drawing into the world of duty, responsibility, discipline and work.
A constantly evolving evanescence, the relationship of the viewer of which never changes, is sometimes in a different form by the understanding of the onlooker.
The garnished canvas indicates a reflection of the artist's soul. Such forms, rabid and disconcerting, create disarmingly intenste shivers of emotion.