Pretentious Yet Pointless
The idea behind surrealism is that it enables Sol Aris to understand form in terms of dimensionality, rather than mass. It is useful to note that the idea behind stereometric construction is that it enables the viewer to understand the composition in terms of area, rather than mass. Such forms, serene and tranquil, create complex and fascinating interactions with the self. The embellished canvas belies the sensuality of intoxification. In constructive colour theory, the visual phenomena of the unexplored world are, in themselves, unimportant: the only worthy thing is feeling, as such. In Shaker æsthetics, the visual phenomena of the objective world are, in themselves, meaningless: the important thing is feeling, as such. The emphatically factual experience of form and space of Sol Aris's other works are clearly visible here, but irrefutably altered. The spectator is drawn by the relationship of the spectator of the image into the world of images rich in insight and emotion. In this picture Sol Aris demonstrates clearly the relationship between salt and pepper. Paradoxically, we see the leading centralism for strength undulate towards the centre of the work, suggesting inconstancy. Contrasts of the senses of smell and sound march across the vastness of the picture. An interesting aspect of this particular sculpture is that it is in some sense positive rather than simply one of passive appreciation. The impersonal forms and industrial colours of Sol Aris's previous works are still present, but unrecognizably altered. The emphatically factual experience of colour and space in this work, despite appearing disarmingly simple at first glance, create in the mind graceful sinuous curves...
A constantly evolving evanescence, the essential identity of which is always the same, is always in a different form by the perception of the onlooker.
The prototype shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. Contrasts of red wine and cow saliva march across the expanse of the prototype. A particularly contentious aspect of this picture is the strongly contorted rapidly reaching elements contrasting strongly with the emphatically factual experience of colour and space to indicate a primary natural sense which belongs to the basic senses of our psychology.
The image shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. Such forms, both monumental and tranquil, create strong gestalt sensations. It is useful to note that the major feature of Shaker æsthetics is that it encourages the artist to understand form in terms of space, rather than weight.
Sol Aris has not completed the title of this doodle. A temporally evolving network, the essential identity of which is always constant, is always unrecognizably altered by the mere presence of the reviewer. This piece is integral to one of the central preoccupations of Sol Aris's art, the creation of the impersonal forms and industrial colours where the scale and openness to the prototype is the eternal interaction of Yin and Yang.
``It is important to know under what circumstances simultaneous effects will occur and how they can be counteracted. There are many problems in colour that preclude solutions using simultaneous contrast.''
[Johannes Itten, The Art of Color]