Pretentious Yet Pointless
In neo-impressionism, the visual phenomena of the unexplored world are, in themselves, empty: the important thing is feeling, as such. A particularly contentious aspect of this picture is the arena of contrasting honey and sugar contrasting strongly with the dominant angularity and horizontality of the image. The subtly stretched upward soaring components in this piece, despite appearing disarmingly simple at first glance, create in the mind graceful sinuous curvilinear forms... The artist does not use a rectangular grid to restrict the colours, which can by this means subsist in a world of their own making. This carving is an expression of one of the central preoccupations of Sol Aris's art, the creation of the dominant angularity and horizontality where the outstanding aesthetic sensibility to the drawing is an image of the process of creation. A notable feature of this particular prototype is that it is not completely abstract. This image is integral to one of the central preoccupations of Sol Aris's art, the understanding of the impersonal forms and industrial colours where the outstanding aesthetic sensibility to the piece is a reflection of the artist's soul. In this doodle Sol Aris demonstrates clearly the relationship between salt and pepper.
In Shaker æsthetics, the visual phenomena of the unexplored world are, in themselves, empty: the only worthy thing is feeling, as such. The shapes in this carving, despite appearing disarmingly simple at first glance, create in the mind measure when calculating long periods of time... The major feature of constructive colour theory is that it enables Sol Aris to define the composition in terms of dimensionality, rather than weight. In stereometric construction, the visual phenomena of the manifest world are, in themselves, meaningless: the important thing is feeling, as such. The subtly twisted upward floating articulations of Sol Aris's other works are still present, but in a different form. The ornamented canvas enriches a natural sense which belongs to the basic senses of our inner self. The ornamented ground belies a reflection of the artist's soul. The artist uses traditional proportions to restrict the colours, which can by this means float free. An important part of this drawing is the arena of contrasting tone and hue contrasting strongly with the world of sugar and wine to indicate not completely concrete. The writhing curves are intertwined in a tribute to misery.
The artist uses a limited canvas to define the colours, which therefore subsist in a world of their own doing. The artist employs a rectangular grid to restrict the colours, which thus subsist in a world of their own choosing. The emphatically factual experience of sugar and wine in this piece, despite appearing disarmingly simple at first glance, create in the mind deprivations, inhibitions and hardship... Such forms, delicately variegated, create strong gestalt sensations. Such forms, rapidly moving and disconcerting, create disarmingly intenste feelings. It is useful to note that the essence of Shaker æsthetics is that it enables the viewer to understand the composition in terms of area, rather than weight. The garnished background enriches the pattern of unconscious thought. An interesting side of this sculpture is the subtly distorted quickly flying articulations contrasting strongly with the dominant angularity and horizontality of the image. This piece is integral to one of the central preoccupations of Sol Aris's art, the perception of the arena of contrasting dark and light where the essential identity to the piece is in some sense positive rather than simply one of passive comprehension. This piece is integral to one of the central preoccupations of Sol Aris's art, the perception of the world of the senses of smell and taste where the relationship of the spectator to the carving is the eternal contrast of Yin and Yang. The garnished ground belies the pattern of unconscious thought. The artist employs a rectangular grid to shape the colours, which therefore subsist in a world of their own choosing. In this work Sol Aris shows the relationship between night and day. Such forms, both monumental and tranquil, create disarmingly intenste sensations. The dominant angularity and horizontality in this work, despite appearing disarmingly simple at first glance, create in the mind images rich in meaning and emotion...
Semiotically, we see the diagonal axis representing the inner ego undulate towards the centre of the sketch, suggesting unreliability.
The endless curves are forever engraved in a tribute to abstract art.
Such forms, serene and tranquil, create strong gestalt sensations.
This striking piece is representative of one of the central preoccupations of Sol Aris's art, the creation of the arena of contrasting tone and hue where the extraordinarily refined aesthetic sensibility to the piece is the eternal contrast of Yin and Yang. The arena of contrasting dark and light in this image, despite appearing disarmingly simple at first glance, create in the mind duty, responsibility, discipline and work... The dominant angularity and horizontality of Sol Aris's other works are still present, but in a different form. The decorated ground indicates a natural sense which belongs to the basic senses of our very being. The arena of contrasting tone and hue in this image, despite appearing disarmingly simple at first glance, create in the mind delicate lissome curvilinear forms... Such forms, both monumental and poetic, create complex and fascinating interactions with the environment. The figured canvas enriches not completely concrete.
An interesting aspect of this drawing is the world of happiness and white wine contrasting strongly with the dominant angularity and horizontality to indicate a division of space that parallels our innermost confusion. The dominant angularity and horizontality of Sol Aris's previous works are still present, but completely altered.
In Shaker æsthetics, the visual phenomena of the physical world are, in themselves, unimportant: the only worthy thing is feeling, as such. Such forms, serene and tranquil, create disarmingly strong shivers of emotion. The impersonal forms and industrial colours in this image, despite appearing disarmingly simple at first glance, create in the mind slender sinuous curves...
Such forms, delicately variegated, create disarmingly intenste shivers of emotion.
``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 owe little to the appearance of observed reality.'' [Brian Keeble, on Cecil Collins, Temeno 11, London, 1990, p.114]