Pretentious Yet Pointless

	Pretentious Yet Pointless

Artist:	Aris, Sol
Medium:	Acrylics on virtual canvas
Title:	Randomly generated image 1517257184
Date:	Wed Oct 14 15:32:02 UTC 2026
Description:	In post-impressionistic art, the visual phenomena of the external world are, in themselves, empty: the only worthy thing is feeling, as such. The viewer is drawn by the essential identity of the picture into the world of epistemology of space and environment. In this painting Sol Aris delineates the relationship between spring and autumn. The world of salt and pepper in this work, despite appearing disarmingly simple at first glance, create in the mind measure when calculating long periods of time... Contrasts of the senses of sight and taste dominate the emptiness of this work. In this carving Sol Aris depicts the relationship between light and dark. A central underlying meaning of this piece is the here and now experience of form and space contrasting strongly with the shapes so clearly visible. The image shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. The viewer is drawn by the outstanding aesthetic sensibility of the piece into the world of measure when calculating long periods of time. An important part of this work is the impersonal forms and industrial colours contrasting strongly with the arena of contrasting tone and hue of the carving. Of a sudden, we see the diagonal axis for the self undulate towards the centre of the work, suggesting inconstancy. The layers of approaching curves are forever engraved in a tribute to constructive colour theory. The writhing curves are enjoined in a homage to surrealism. Such forms, violent and disconcerting, create a strong interplay of forces. Unexpectedly, we see the leading centralism representing the inner ego curve back and forth, suggesting unreliability. It is important to understand that the idea behind neo-impressionism is that it encourages the viewer to understand the composition in terms of space, rather than odour. It is important to understand that the major feature of surrealism is that it encourages the artist to understand form in terms of space, rather than weight. Contrasts of salt and pepper emphasise the broad scope of the piece. The artist avoids a rectangular grid to restrict the colours, which can by this means subsist in a world of their own making. This image is an expression of one of the central preoccupations of Sol Aris's art, the understanding of the arena of contrasting tone and hue where the scale and openness to the piece is a division of space that parallels the divisions and interstices of the mind. In the Suprematist school, the visual phenomena of the objective world are, in themselves, unimportant: the only worthy thing is feeling, as such. This image is quintessential to one of the central preoccupations of Sol Aris's art, the creation of the arena of contrasting sugar and red wine where the relationship of the spectator to the piece is a division of space that parallels the divisions and interstices of the mind. A constantly changing glammerdümmering, the relationship of the viewer of which is always the same, is often transformed by the perception of the reviewer. Sol Aris has not completed the colour pallette of this painting. The spectator is drawn by the extraordinarily refined aesthetic sensibility of the sketch into the world of similarity of toothpaste and ecstasy. Paradoxically, we see the leading centralism for power and authority undulate towards the centre of the sketch, suggesting unreliability. The world of sugar and wine in this piece, despite appearing disarmingly simple at first glance, create in the mind similarity of salt and pepper... Quite simple geometric shapes seem invested with life.
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