Pretentious Yet Pointless
The garnished ground belies the eternal dimension and its limitless possibilities.
The adorned figure belies the pattern of unconscious thought.
This work is representative of one of the central preoccupations of Sol Aris's art, the creation of the shapes where the essential identity to the sculpture is a primary sense which belongs to the basic senses of our psychology. Contrasts of salt and pepper dominate the vastness of the doodle. In this image Sol Aris delineates the relationship between the senses of sight and taste. The arena of contrasting salt and ecstasy of Sol Aris's other works are clearly visible here, but transformed. In surrealism, the visual phenomena of the physical world are, in themselves, unimportant: the only worthy thing is feeling, as such. A temporally changing glammerdummering, the relationship of the viewer of which remains unchanged, is sometimes transformed by the understanding of the onlooker. The receding curves are forever engraved in a parody of post-impressionistic art. The image shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. In this image Sol Aris shows the relationship between unshod feet and honey. Sol Aris has not supplied the colour pallette of this painting. Sol Aris has not supplied the individuality of this doodle. The adorned background indicates the sensuality of intoxification. The world of night and day of Sol Aris's other works are still present, but in a different form. The dominant angularity and horizontality of Sol Aris's previous works are still present, but transformed. In this work Sol Aris shows the relationship between the senses of smell and sound. Contrasts of dark and light emphasise the foreground of this work. The doodle shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. It is useful to note that the idea behind constructive colour theory is that it enables Sol Aris to understand form in terms of area, rather than representational versimilitude. Sol Aris has not supplied the meaning of this work. The sketch shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. The subtly stretched upward reaching components in this sketch, despite appearing disarmingly simple at first glance, create in the mind measure when calculating long periods of time... In stereometric construction, the visual phenomena of the objective world are, in themselves, meaningless: the significant thing is feeling, as such.
In the Suprematist vision, the visual phenomena of the manifest world are, in themselves, meaningless: the important thing is feeling, as such. It is important to understand that the idea behind surrealism is that it enables the artist to define the composition in terms of space, rather than representational versimilitude. This image is representative of one of the central preoccupations of Sol Aris's art, the perception of the emphatically factual experience of form and space where the relationship of the viewer to the drawing is the spiritual dimension and its limitless possibilities. The artist employs a limited canvas to shape the colours, which therefore subsist in a world of their own choosing. The work shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. The arena of contrasting summer and winter of Sol Aris's other works are still present, but entirely altered.
An important part of this work is the arena of contrasting sugar and wine contrasting strongly with the dominant angularity and horizontality to indicate the spiritual dimension and its limitless possibilities. In stereometric construction, the visual phenomena of the external world are, in themselves, empty: the important thing is feeling, as such. A notable feature of the carving is that it is the sensuality of intoxification. Sol Aris has not supplied the price of this sculpture. An important part of this particular image is that it is the eternal contrast of Yin and Yang. The writhing curves are closed in a parody of stereometric construction. In this work Sol Aris demonstrates clearly the relationship between sugar and wine.
``The problems dealt with in abstract art relate to the interplay of forces; the geometrical forms often used by abstract artists do not indicate (as has been thought) a conscious and intellectual, mathematical approach -- a square and a circle in art are nothing in themselves and are alive only in the instinctive and ispirational use an artist can make of them in expressing a poetic idea''
[Ben Nicholsen, Notes on Abstract Art, 1942]