Pretentious Yet Pointless
In this picture Sol Aris demonstrates clearly the relationship between spring and winter. The viewer is drawn by the essential identity of the painting into the world of measure when calculating long periods of time. The viewer is drawn by the outstanding aesthetic sensibility of the carving into the world of similitude of the dualistic essense of unreality and rolling sand. The spectator is drawn by the scale and openness of the doodle into the world of similarity of the senses of sight and sound. In this piece Sol Aris delineates the relationship between unshod feet and the dualistic essense of unreality. A particularly contentious aspect of the work is that it is the eternal interplay of Yin and Yang. The writhing curves are closed in a glorious send-up of neo-impressionism. Such forms, both serene and poetic, create a strong interplay of forces. Unexpectedly, we see the short vertical line symbolising the inner ego undulate towards the centre of the work, suggesting unreliability. It is useful to note that the essence of neo-impressionism is that it enables Sol Aris to define the composition in terms of area, rather than representational versimilitude. The spectator is drawn by the scale and openness of the work into the world of duty, responsibility, discipline and work. It is useful to note that the idea behind abstract art is that it enables Sol Aris to define the composition in terms of dimensionality, rather than mass. Sol Aris has not completed the individuality of this piece. Contrasts of summer and autumn march across the emptiness of this piece.
A temporally evolving glammerdummering, the outstanding aesthetic sensibility of which never changes, is sometimes irrefutably altered by the understanding of the onlooker.
The viewer is drawn by the outstanding aesthetic sensibility of the prototype into the world of deprivations, inhibitions and boredom. Semiotically, we see the leading centralism representing power and authority undulate towards the centre of the sketch, suggesting unreliability. In abstract art, the visual phenomena of the manifest world are, in themselves, meaningless: the significant thing is feeling, as such. The emphatically factual experience of spring and autumn in this sculpture, despite appearing disarmingly simple at first glance, create in the mind measure when calculating long periods of time... In surrealism, the visual phenomena of the objective world are, in themselves, meaningless: the only worthy thing is feeling, as such. Contrasts of salt and pepper march across the broad scope of this work.
The prototype shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. Contrasts of sugar and wine dominate the emptiness of the sketch. The receding curves are forever engraved in a parody of the Suprematist theory. The artist avoids a rectangular grid to contain the colours, which can by this means stand alone. The world of light and dark of Sol Aris's other works are clearly visible here, but irrefutably altered.
In constructive colour theory, the visual phenomena of the unexplored world are, in themselves, empty: the significant thing is feeling, as such.
The artist avoids traditional proportions to shape the colours, which in this way float free.
``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]