Pretentious Yet Pointless
``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]
Pretentious Yet Pointless | |
| Artist: | Aris, Sol |
| Medium: | Acrylics on virtual canvas |
| Title: | Randomly generated image 1393924516 |
| Date: | Sun Nov 15 21:23:50 UTC 2026 |
| Description: |
Semiotically,
we see the
diagonal axis
symbolising
power and authority
undulate towards the centre of the painting,
suggesting
unreliability.
The
decorated
background
belies
the essential distinction between pattern and texture.
Paradoxically,
we see the
short vertical line
representing
power and authority
curve back and forth,
suggesting
unreliability.
Unexpectedly,
we see the
short vertical line
for
power and authority
undulate towards the centre of the image,
suggesting
inconstancy.
The artist avoids
a rectangular grid
to contain the
colours, which in this way
subsist in a world of their own doing.
The
never-ending
curves
are
enjoined
in a tribute to
celebration.
The viewer is drawn by the
essential identity
of the piece into
the world of epistemology of space and
quintessential hereness.
Sol Aris has not described the
meaning
of this carving.
The artist employs
a limited canvas
to shape the
colours, which in this way
float free.
The strongly
twisted
upward
floating
components
of
Sol Aris's previous works are
still present,
but
entirely altered.
Paradoxically,
we see the
leading centralism
representing
strength
undulate towards the centre of the image,
suggesting
inconstancy.
Such forms, quietly formal, create strong gestalt sensations.
The artist employs
a rectangular grid
to restrict the
colours, which thus
subsist in a world of their own doing.
Sol Aris has not described the
colour pallette
of this prototype.
This picture is
quintessential to
one of the central preoccupations of Sol Aris's art,
the creation of the
arena of contrasting summer and winter
where the relationship of the viewer to the piece
is
the sensuality of extinction.
The subtly
stretched
downward
flying
elements
of
Sol Aris's earlier works are
clearly visible here,
but
transformed.
``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] |
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