Pretentious Yet Pointless
The never-ending curves are closed in a tribute to neo-impressionism. The decorated canvas belies the eternal interplay of Yin and Yang.
In constructive colour theory, the visual phenomena of the external world are, in themselves, empty: the significant thing is feeling, as such.
The arena of contrasting colour and space of Sol Aris's previous works are clearly visible here, but transformed.
This image is an expression of one of the central preoccupations of Sol Aris's art, the understanding of the here and now experience of brightness and dark where the relationship of the spectator to the work is an image of the process of creation. The subtly distorted upward floating elements of Sol Aris's earlier works are still present, but transformed. An important part of this particular work is that it is a reflection of the process of creation. The receding curves are forever engraved in a tribute to celebration. The image shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. The ornamented canvas belies a division of space that parallels the divisions and interstices of the mind. The viewer is drawn by the essential identity of the drawing into the world of epistemology of area and place.
A particularly contentious aspect of this image is the dominant angularity and horizontality contrasting strongly with the subtly curved downward flying elements to indicate an image of the process of creation. A notable feature of the drawing is that it is the eternal dimension and its endless possibilities. In constructive colour theory, the visual phenomena of the external world are, in themselves, unimportant: the significant thing is feeling, as such. A constantly evolving evanescence, the essential identity of which is always constant, is often transformed by the essential fact of the viewer. A temporally changing glammerdümmering, the relationship of the viewer of which remains unchanged, is always transformed by the mere presence of the reviewer.
In abstract art, the visual phenomena of the external world are, in themselves, empty: the only worthy thing is feeling, as such.
Sol Aris has not supplied the title of this work. This striking piece is integral to one of the central preoccupations of Sol Aris's art, the understanding of the shapes where the essential identity to the carving is the essential contrast between pattern and texture.
Contrasts of spring and winter dominate the emptiness of this doodle. This work is quintessential to one of the central preoccupations of Sol Aris's art, the understanding of the subtly curved rapidly floating components where the outstanding aesthetic sensibility to the sketch is the eternal interplay of Yin and Yang. The artist uses a rectangular grid to contain the colours, which therefore stand alone.
A central underlying meaning of the image is that it is the spiritual dimension and its endless possibilities. The endless curves are closed in a homage to neo-impressionism. The beribboned ground indicates the sensuality of extinction.
In Shaker æsthetics, the visual phenomena of the manifest world are, in themselves, empty: the only worthy thing is feeling, as such. The layers of approaching curves are intertwined in a homage to misery. The spectator is drawn by the scale and openness of the picture into the world of brightness and dark.
``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]