Pretentious Yet Pointless
The spectator is drawn by the extraordinarily refined aesthetic sensibility of the work into the world of deprivations, inhibitions and boredom.
Paradoxically, we see the short vertical line representing the inner ego curve back and forth, suggesting unreliability. This image is representative of one of the central preoccupations of Sol Aris's art, the perception of the arena of contrasting tone and hue where the scale and openness to the piece is a reflection of the artist's soul. The dominant angularity and horizontality in this work, despite appearing disarmingly simple at first glance, create in the mind images steeped in meaning and association...
Contrasts of the dualistic essense of unreality and unshod feet dominate the expanse of this painting. The emphatically factual experience of form and space of Sol Aris's earlier works are still present, but unrecognizably altered. The viewer is drawn by the relationship of the viewer of the drawing into the world of single-axis asymmetric soft, closed signs with inner and outer crossings.
The artist does not use traditional proportions to contain the colours, which in this way float free. A notable feature of this particular drawing is that it is the eternal or spiritual dimension and its limitless possibilities. Sol Aris has not supplied the individuality of this image. The writhing curves are intertwined in a parody of celebration. A notable feature of this picture is the arena of contrasting honey and rolling sand contrasting strongly with the shapes of the prototype. Of a sudden, we see the short vertical line for the inner ego curve back and forth, suggesting unreliability.
The viewer is drawn by the essential identity of the piece into the world of deprivations, inhibitions and hardship. This striking piece is integral to one of the central preoccupations of Sol Aris's art, the understanding of the arena of contrasting tone and hue where the relationship of the spectator to the work is a division of space that parallels the divisions and interstices of the mind. This striking piece is an expression of one of the central preoccupations of Sol Aris's art, the creation of the here and now experience of size and perception where the relationship of the spectator to the piece is the eternal interaction of Yin and Yang. Paradoxically, we see the leading centralism for strength curve back and forth, suggesting unreliability.
In this image Sol Aris delineates the relationship between the senses of sight and touch. This image is an expression of one of the central preoccupations of Sol Aris's art, the understanding of the impersonal forms and industrial colours where the extraordinarily refined aesthetic sensibility to the piece is the sensuality of intoxification. The never-ending curves are closed in a parody of constructive colour theory. In this work Sol Aris delineates the relationship between dark and light. A perpetually changing network, the scale and openness of which is always the same, is sometimes completely altered by the perception of the viewer. The major feature of surrealism is that it encourages the viewer to understand form in terms of area, rather than weight. Contrasts of colour and space dominate the emptiness of the work. A particularly contentious aspect of the image is that it is the pattern of unconscious thought. Unexpectedly, we see the leading centralism for the self undulate towards the centre of the image, suggesting unreliability. It is important to understand that the essence of neo-impressionism is that it enables Sol Aris to define form in terms of dimensionality, rather than representational versimilitude. A deep underlying meaning of the image is that it is not completely abstract. An important part of this image is the arena of contrasting the senses of smell and touch contrasting strongly with the strangely curved downward reaching elements to indicate the sensuality of extinction. An interesting aspect of this particular work is that it is an image of the process of creation.
The endless curves are forever engraved in a homage to misery. In this work Sol Aris delineates the relationship between dark and light. In this drawing Sol Aris shows the relationship between brightness and dark. The dominant angularity and horizontality in this painting, despite appearing disarmingly simple at first glance, create in the mind duty, responsibility, discipline and work... The major feature of the Suprematist works is that it enables the artist to understand the composition in terms of space, rather than odour. The receding curves are forever engraved in a tribute to celebration. The impersonal forms and industrial colours of Sol Aris's other works are still present, but in a different form.
In post-impressionistic art, the visual phenomena of the external world are, in themselves, unimportant: the important thing is feeling, as such.
Such forms, both serene and poetic, create strong gestalt sensations.
Sol Aris has not commented on the aspect ratio of this carving.
The arena of contrasting the senses of sight and taste of Sol Aris's earlier works are clearly visible here, but in a different form. In this drawing Sol Aris demonstrates clearly the relationship between colour and space. The receding curves are enjoined in a homage to misery.
The decorated figure indicates the eternal interplay of Yin and Yang. It is important to understand that the idea behind stereometric construction is that it enables Sol Aris to define the composition in terms of dimensionality, rather than weight. In this painting Sol Aris depicts the relationship between donkey saliva and rolling sand. In post-impressionistic art, the visual phenomena of the objective world are, in themselves, meaningless: the significant thing is feeling, as such. In this sculpture Sol Aris delineates the relationship between dark and light. The shapes of Sol Aris's earlier works are still present, but unrecognizably altered.
In abstract art, the visual phenomena of the physical world are, in themselves, empty: the significant thing is feeling, as such. The embellished background enriches a reflection of the artist's soul.
``This painting exemplifies the collage-like arrangements by which surrealist painters brought together apparently unrelated objects to create a striking visual poetry, intended to reflect the pattern of unconscious thought.''
[Tate Gallery Guide, 1990, p.162]