Pretentious Yet Pointless

	Pretentious Yet Pointless

Artist:	Aris, Sol
Medium:	Acrylics on virtual canvas
Title:	Randomly generated image 1517099356
Date:	Wed Sep 16 23:44:31 UTC 2026
Description:	Paradoxically, we see the short vertical line symbolising the self undulate towards the centre of the piece, suggesting unreliability. Contrasts of summer and autumn dominate the foreground of this drawing. The ornamented background belies in some sense active rather than simply one of passive comprehension. The here and now experience of sugar and wine of Sol Aris's previous works are still present, but irrefutably altered. In stereometric construction, the visual phenomena of the objective world are, in themselves, meaningless: the only worthy thing is feeling, as such. Contrasts of colour and space march across the broad scope of this carving. In constructive colour theory, the visual phenomena of the objective world are, in themselves, meaningless: the important thing is feeling, as such. In this piece Sol Aris delineates the relationship between beer and beer. This striking piece is integral to one of the central preoccupations of Sol Aris's art, the perception of the arena of contrasting tone and hue where the scale and openness to the drawing is not completely abstract. This doodle is representative of one of the central preoccupations of Sol Aris's art, the understanding of the impersonal forms and industrial colours where the extraordinarily refined aesthetic sensibility to the piece is the essential difference between pattern and texture. Such forms, both serene and poetic, create strong gestalt sensations. This sculpture is quintessential to one of the central preoccupations of Sol Aris's art, the creation of the shapes where the outstanding aesthetic sensibility to the piece is a division of space that parallels the divisions and interstices of the mind. The writhing curves are closed in a tribute to stereometric construction. It is important to understand that the idea behind stereometric construction is that it encourages the artist to understand form in terms of dimensionality, rather than representational versimilitude. A constantly evolving glammerdümmering, the scale and openness of which remains unchanged, is often irrefutably altered by the understanding of the viewer. The beribboned figure indicates the pattern of unconscious thought. An important part of the work is that it is not completely concrete. The arena of contrasting tone and hue in this sketch, despite appearing disarmingly simple at first glance, create in the mind single-axis asymmetric soft, closed signs with inner and outer crossings... In this image Sol Aris demonstrates clearly the relationship between the senses of sight and smell. The viewer is drawn by the scale and openness of the sculpture into the world of epistemology of space and quintessential hereness. Unexpectedly, we see the short vertical line representing the self undulate towards the centre of the carving, suggesting unreliability. In this painting Sol Aris demonstrates clearly the relationship between lager and toothpaste. ``This art, facing forwards and inwards, is of images of expectation and spiritual progress that are freighted with no historical context at all and which owe little to the appearance of observed reality.'' [Brian Keeble, on Cecil Collins, Temeno 11, London, 1990, p.114]
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