Pretentious Yet Pointless
A temporally evolving glammerdummering, the scale and openness of which is always the same, is sometimes in a different form by the perception of the reviewer. The shapes of Sol Aris's earlier works are still present, but entirely altered.
The endless curves are intertwined in a homage to misery. The major feature of the Suprematist school is that it encourages the viewer to define form in terms of area, rather than representational versimilitude. A notable feature of this image is the arena of contrasting sugar and wine contrasting strongly with the impersonal forms and industrial colours to indicate a division of space that parallels the divisions and interstices of the mind. Unexpectedly, we see the short vertical line for strength undulate towards the centre of the prototype, suggesting inconstancy.
The sculpture shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. Contrasts of salt and pepper dominate the emptiness of this doodle. This striking piece is representative of one of the central preoccupations of Sol Aris's art, the understanding of the shapes where the essential identity to the piece is a division of space that parallels the divisions and interstices of the mind. Contrasts of dark and light march across the expanse of the work. The viewer is drawn by the essential identity of the image into the world of duty, responsibility, discipline and work.
A notable feature of the carving is that it is the essential contrast between pattern and texture.
The essence of post-impressionistic art is that it encourages the artist to define form in terms of space, rather than weight. The shapes in this work, despite appearing disarmingly simple at first glance, create in the mind single-axis asymmetric soft, closed signs with inner and outer crossings... In constructive colour theory, the visual phenomena of the physical world are, in themselves, unimportant: the only worthy thing is feeling, as such. The arena of contrasting tone and hue in this drawing, despite appearing disarmingly simple at first glance, create in the mind honey and ecstasy... In this work Sol Aris delineates the relationship between the senses of sight and taste. Sol Aris has not supplied the individuality of this doodle. The ornamented background indicates the eternal dimension and its limitless possibilities. Such forms, violent and disconcerting, create disarmingly intenste feelings. Of a sudden, we see the leading centralism representing the inner ego curve back and forth, suggesting inconstancy. The never-ending curves are intertwined in a glorious send-up of celebration. It is useful to note that the essence of the Suprematist theory is that it encourages the artist to define the composition in terms of area, rather than odour. A particularly contentious aspect of this doodle is the shapes contrasting strongly with the subtly contorted quickly flying articulations to indicate a division of space that parallels the divisions and interstices of the mind. The ornamented background belies the eternal interaction of Yin and Yang. Such forms, both monumental and tranquil, create a strong interaction of forces.
``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]