Pretentious Yet Pointless | |
| Artist: | Aris, Sol |
| Medium: | Acrylics on virtual canvas |
| Title: | Randomly generated image 1517069394 |
| Date: | Sat Sep 12 05:46:55 UTC 2026 |
| Description: |
The dominant angularity and horizontality in this image,
despite appearing disarmingly simple at first glance,
create in the mind
single-axis asymmetric soft,
closed signs with inner and outer crossings...
The spectator is drawn by the
essential identity
of the work into
the world of duty, responsibility, discipline and work.
An interesting side of this particular piece is that it is a division of space that parallels
our innermost confusion.
An interesting side of the piece is that it is the sensuality of intoxification.
The
endless
curves
are
forever engraved
in a homage to
misery.
This image is
integral to
one of the central preoccupations of Sol Aris's art,
the understanding of the
shapes
where the relationship of the spectator to the image
is
the essential difference between pattern and texture.
The
writhing
curves
are
closed
in a homage to
misery.
An interesting aspect of this particular image is that it is not completely concrete.
The artist employs
a rectangular grid
to restrict the
colours, which therefore
stand alone.
The gently
curved
rapidly
soaring
components in this carving,
despite appearing disarmingly simple at first glance,
create in the mind
invaluable cultural icons...
The dominant angularity and horizontality in this image,
despite appearing disarmingly simple at first glance,
create in the mind
measure when calculating long periods of time...
In post-impressionistic art,
the visual phenomena of the
objective
world are, in themselves, empty:
the important
thing is feeling, as such.
Contrasts of sugar and wine
march across
the
foreground
of this image.
A perpetually
changing
evanescence,
the scale and openness
of which
remains unchanged,
is sometimes transformed
by the essential fact
of the environment.
``What does it all mean? I have little idea... It seems to make use of an abstract idiom which is skirting very near to mere decorative doodling, rather intricately pretty, and yet it is clearly nothing to do with decoration because it's too obsessed.'' [Tate Gallery Guide, 1990, p.232] |
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