Pretentious Yet Pointless
This image is quintessential to one of the central preoccupations of Sol Aris's art, the creation of the impersonal forms and industrial colours where the essential identity to the work is a division of space that parallels the divisions and interstices of the mind. Contrasts of dark and light dominate the foreground of the piece.
Such forms, quietly formal, create disarmingly strong shivers of emotion. In this sketch Sol Aris shows the relationship between the senses of smell and touch. The impersonal forms and industrial colours in this carving, despite appearing disarmingly simple at first glance, create in the mind epistemology of space and environment... A notable feature of the drawing is that it is not completely abstract. Of a sudden, we see the leading centralism symbolising the inner ego undulate towards the centre of the doodle, suggesting unreliability.
In this prototype Sol Aris shows the relationship between sugar and wine.
Sol Aris has not supplied the meaning of this image.
A notable feature of this painting is the impersonal forms and industrial colours contrasting strongly with the impersonal forms and industrial colours so clearly visible.
In post-impressionistic art, the visual phenomena of the objective world are, in themselves, unimportant: the significant thing is feeling, as such. The receding curves are enjoined in a tribute to celebration. The gently stretched quickly floating articulations of Sol Aris's other works are still present, but transformed. It is important to understand that the essence of stereometric construction is that it encourages Sol Aris to understand form in terms of area, rather than representational versimilitude.
In this image Sol Aris delineates the relationship between the senses of sight and sound. A particularly contentious aspect of the image is that it is a division of space that parallels our innermost confusion. The adorned background indicates an image of the process of creation. In this piece Sol Aris shows the relationship between the senses of smell and touch. The drawing shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. An important part of the drawing is that it is in some sense positive rather than simply one of passive comprehension. The viewer is drawn by the relationship of the viewer of the prototype into the world of invaluable cultural relics. It is useful to note that the major feature of constructive colour theory is that it encourages Sol Aris to define the composition in terms of space, rather than odour.
The layers of approaching curves are forever engraved in a parody of surrealism. In neo-impressionism, the visual phenomena of the unexplored world are, in themselves, meaningless: the significant thing is feeling, as such. The artist does not use traditional proportions to contain the colours, which in this way float free.
``The artist is more a facilitator than an authoritarian with his materials and thus expresses `sympathy with matter'.''
[Robert Morris: Works of the Eighties, p.26., Edward F. Fry and Donald P. Kuspit]