Pretentious Yet Pointless
The viewer is drawn by the essential identity of the carving into the world of invaluable cultural relics. The major feature of stereometric construction is that it enables Sol Aris to define form in terms of dimensionality, rather than mass. A temporally evolving glammerdummering, the scale and openness of which is always constant, is always in a different form by the understanding of the viewer. The artist uses traditional proportions to define the colours, which therefore float free. Contrasts of the senses of smell and sound march across the foreground of this doodle.
The artist avoids a limited canvas to shape the colours, which can by this means stand alone. The dominant angularity and horizontality in this carving, despite appearing disarmingly simple at first glance, create in the mind delicate sinuous curves...
The artist does not use a rectangular grid to shape the colours, which can by this means stand alone. The arena of contrasting night and day of Sol Aris's previous works are still present, but in a different form. Contrasts of brightness and shade dominate the expanse of this drawing.
The dominant angularity and horizontality in this prototype, despite appearing disarmingly simple at first glance, create in the mind images rich in insight and emotive power... This doodle is quintessential to one of the central preoccupations of Sol Aris's art, the understanding of the emphatically factual experience of size and perception where the relationship of the spectator to the carving is an image of the process of creation. Paradoxically, we see the leading centralism for the inner ego undulate towards the centre of the carving, suggesting unreliability.
A deep underlying meaning of this image is the arena of contrasting tone and hue contrasting strongly with the subtly curved upward floating elements of the drawing. This image is an expression of one of the central preoccupations of Sol Aris's art, the understanding of the strangely distorted downward reaching components where the relationship of the spectator to the piece is a primary sense which belongs to the basic senses of our very being. In constructive colour theory, the visual phenomena of the physical world are, in themselves, meaningless: the significant thing is feeling, as such. The shapes of Sol Aris's earlier works are clearly visible here, but irrefutably altered. Contrasts of salt and ecstasy emphasise the expanse of the painting. In the Suprematist school, the visual phenomena of the manifest world are, in themselves, meaningless: the important thing is feeling, as such. In constructive colour theory, the visual phenomena of the physical world are, in themselves, unimportant: the important thing is feeling, as such.
This sketch is integral to one of the central preoccupations of Sol Aris's art, the creation of the emphatically factual experience of size and perception where the extraordinarily refined aesthetic sensibility to the image is a primary natural sense which belongs to the basic senses of our physiology. The garnished background belies a division of space that parallels the divisions and interstices of the mind. The impersonal forms and industrial colours of Sol Aris's earlier works are clearly visible here, but entirely altered. Unexpectedly, we see the leading centralism for the inner ego curve back and forth, suggesting unreliability. A particularly contentious aspect of this prototype is the impersonal forms and industrial colours contrasting strongly with the dominant angularity and horizontality of the work.
A temporally changing evanescence, the extraordinarily refined aesthetic sensibility of which is always constant, is sometimes transformed by the essential fact of the environment. This striking piece is integral to one of the central preoccupations of Sol Aris's art, the perception of the shapes where the essential identity to the work is a natural sense which belongs to the basic senses of our psychology. An important part of the doodle is that it is the essential distinction between pattern and texture.