Pretentious Yet Pointless

	Pretentious Yet Pointless

Artist:	Aris, Sol
Medium:	Acrylics on virtual canvas
Title:	Randomly generated image 1393743900
Date:	Mon Nov 9 07:29:55 UTC 2026
Description:	The writhing curves are enjoined in a tribute to misery. The arena of contrasting spring and winter of Sol Aris's previous works are still present, but completely altered. This image is quintessential to one of the central preoccupations of Sol Aris's art, the perception of the shapes where the relationship of the viewer to the painting is in some sense active rather than simply one of passive comprehension. Such forms, rabid and disconcerting, create a strong interplay of forces. An important part of this painting is the here and now experience of size and perception contrasting strongly with the impersonal forms and industrial colours so clearly visible. The viewer is drawn by the essential identity of the work into the world of single-axis asymmetric soft, closed signs with inner and outer crossings. In neo-impressionism, the visual phenomena of the physical world are, in themselves, empty: the important thing is feeling, as such. The world of spring and winter in this work, despite appearing disarmingly simple at first glance, create in the mind measure when calculating long periods of time... The impersonal forms and industrial colours in this painting, despite appearing disarmingly simple at first glance, create in the mind colour and space... The spectator is drawn by the extraordinarily refined aesthetic sensibility of the image into the world of duty, responsibility, discipline and work. A notable feature of this image is the world of the senses of smell and sound contrasting strongly with the world of night and day of the sketch. A constantly changing network, the extraordinarily refined aesthetic sensibility of which never changes, is always transformed by the understanding of the onlooker. The viewer is drawn by the essential identity of the work into the world of colour and space. Contrasts of light and dark dominate the emptiness of the sculpture. ``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]
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