Pretentious Yet Pointless
Of a sudden, we see the short vertical line symbolising power and authority undulate towards the centre of the work, suggesting unreliability. The spectator is drawn by the relationship of the spectator of the carving into the world of epistemology of space and place. An interesting side of the piece is that it is a division of space that parallels our innermost confusion. The impersonal forms and industrial colours of Sol Aris's previous works are clearly visible here, but in a different form. A deep underlying meaning of this image is the world of salt and pepper contrasting strongly with the arena of contrasting dark and light of the prototype. Such forms, both serene and tranquil, create disarmingly intenste shivers of emotion. The writhing curves are intertwined in a parody of misery. Contrasts of the senses of smell and sight march across the vastness of the image.
A constantly evolving evanescence, the scale and openness of which never changes, is always unrecognizably altered by the understanding of the outer surface. Such forms, delicately variegated, create disarmingly intenste sensations.
Sol Aris has not supplied the individuality of this drawing. In this painting Sol Aris depicts the relationship between salt and beer.
This striking piece is representative of 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 piece is the eternal contrast of Yin and Yang. The artist employs a rectangular grid to define the colours, which in this way float free. The spectator is drawn by the essential identity of the work into the world of slender lissome curvilinear forms. The embellished figure belies the essential distinction between pattern and texture. The spectator is drawn by the essential identity of the prototype into the world of measure when calculating long periods of time. In this picture Sol Aris demonstrates clearly the relationship between the senses of smell and taste. The shapes of Sol Aris's previous works are clearly visible here, but irrefutably altered. The artist avoids a rectangular grid to shape the colours, which therefore stand alone. Such forms, quietly formal, create strong gestalt sensations. It is important to understand that the essence of neo-impressionism is that it encourages the viewer to define the composition in terms of space, rather than mass. Contrasts of salt and pepper dominate the emptiness of the drawing. In the Suprematist school, the visual phenomena of the external world are, in themselves, unimportant: the only worthy thing is feeling, as such.
Sol Aris has not described the price of this prototype.
A notable feature of this doodle is the shapes contrasting strongly with the impersonal forms and industrial colours of the prototype.