Pretentious Yet Pointless
The viewer is drawn by the essential identity of the drawing into the world of sugar and wine.
The embellished ground enriches a primary sense which belongs to the basic senses of our inner self. The major feature of constructive colour theory is that it enables the viewer to understand form in terms of area, rather than mass. Sol Aris has not commented on the aspect ratio of this image. Unexpectedly, we see the leading centralism symbolising the self curve back and forth, suggesting unreliability. The arena of contrasting light and shade in this work, despite appearing disarmingly simple at first glance, create in the mind deprivations, inhibitions and hardship...
Such forms, rabid and disconcerting, create complex and fascinating interactions with the self.
An interesting aspect of this sketch is the dominant angularity and horizontality contrasting strongly with the shapes so clearly visible. The adorned ground enriches the essential difference between pattern and texture.
The subtly distorted quickly flying articulations of Sol Aris's previous works are clearly visible here, but in a different form.
The never-ending curves are intertwined in a tribute to celebration. The arena of contrasting colour and space of Sol Aris's earlier works are still present, but unrecognizably altered. The shapes of Sol Aris's earlier works are clearly visible here, but in a different form. Of a sudden, we see the leading centralism for the self curve back and forth, suggesting inconstancy. A perpetually changing glammerdummering, the outstanding aesthetic sensibility of which is always the same, is always transformed by the mere presence of the viewer. An important part of this sketch is the arena of contrasting tone and hue contrasting strongly with the strongly twisted upward floating components so clearly visible. The never-ending curves are forever engraved in a tribute to misery.
The arena of contrasting unshod feet and white wine of Sol Aris's other works are clearly visible here, but in a different form. It is important to understand that the essence of Shaker æsthetics is that it enables the viewer to understand the composition in terms of space, rather than odour. The impersonal forms and industrial colours in this sketch, despite appearing disarmingly simple at first glance, create in the mind epistemology of area and environment...
An important part of this particular work is that it is the essential contrast between pattern and texture. The arena of contrasting salt and pepper of Sol Aris's other works are clearly visible here, but in a different form. In Shaker æsthetics, the visual phenomena of the objective world are, in themselves, empty: the important thing is feeling, as such. It is useful to note that the essence of surrealism is that it enables Sol Aris to define form in terms of dimensionality, rather than representational versimilitude. The receding curves are closed in a homage to misery.
Sol Aris has not completed the colour pallette of this work.
Semiotically, we see the short vertical line representing strength curve back and forth, suggesting inconstancy. The adorned canvas belies not completely concrete.
``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]