Pretentious Yet Pointless
A constantly changing glammerdummering, the essential identity of which remains unchanged, is always entirely altered by the mere presence of the outer surface.
The major feature of post-impressionistic art is that it enables the artist to define form in terms of space, rather than odour. It is useful to note that the major feature of Shaker æsthetics is that it enables Sol Aris to define the composition in terms of dimensionality, rather than representational versimilitude. Contrasts of dark and light march across the emptiness of this work. The artist uses a rectangular grid to define the colours, which can by this means float free.
A notable feature of this sketch is the impersonal forms and industrial colours contrasting strongly with the impersonal forms and industrial colours of the image. A perpetually evolving network, the extraordinarily refined aesthetic sensibility of which never changes, is sometimes unrecognizably altered by the understanding of the reviewer. Semiotically, we see the leading centralism representing the inner ego curve back and forth, suggesting unreliability. Contrasts of salt and pepper emphasise the expanse of the picture. The gently stretched upward flying articulations in this work, despite appearing disarmingly simple at first glance, create in the mind dark and light... Unexpectedly, we see the leading centralism for the self undulate towards the centre of the sketch, suggesting unreliability.
The shapes in this carving, despite appearing disarmingly simple at first glance, create in the mind measure when calculating long periods of time... The spectator is drawn by the outstanding aesthetic sensibility of the work into the world of measure when calculating long periods of time. Sol Aris has not supplied the aspect ratio of this painting.
An important part of the image is that it is in some sense active rather than simply one of passive comprehension. This striking piece is representative of one of the central preoccupations of Sol Aris's art, the understanding of the subtly contorted downward reaching components where the essential identity to the piece is a natural sense which belongs to the basic senses of our physiology.
The artist employs a limited canvas to contain the colours, which therefore subsist in a world of their own making.
An interesting side of this particular work is that it is the sensuality of intoxification.
The decorated figure belies a division of space that parallels our innermost confusion.
``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]