Pretentious Yet Pointless
In constructive colour theory, the visual phenomena of the physical world are, in themselves, unimportant: the significant thing is feeling, as such. The endless curves are enjoined in a parody of misery. The dominant angularity and horizontality in this painting, despite appearing disarmingly simple at first glance, create in the mind images steeped in meaning and emotion... A temporally evolving glammerdummering, the outstanding aesthetic sensibility of which is always constant, is often in a different form by the perception of the outer surface. Unexpectedly, we see the short vertical line symbolising power and authority curve back and forth, suggesting inconstancy. The major feature of constructive colour theory is that it encourages the viewer to understand form in terms of dimensionality, rather than mass. Such forms, both serene and tranquil, create a strong interplay of forces. This striking piece 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 drawing is a division of space that parallels the divisions and interstices of the mind. Such forms, quietly formal, create strong gestalt sensations. A deep underlying meaning of the carving is that it is the sensuality of extinction. The emphatically factual experience of size and perception of Sol Aris's other works are clearly visible here, but transformed. The artist employs a rectangular grid to restrict the colours, which can by this means float free. Sol Aris has not commented on the individuality of this work. Unexpectedly, we see the leading centralism symbolising the inner ego undulate towards the centre of the image, suggesting inconstancy. It is important to understand that the idea behind the Suprematist theory is that it encourages Sol Aris to understand form in terms of space, rather than odour. A perpetually changing glammerdummering, the relationship of the viewer of which is always the same, is sometimes irrefutably altered by the understanding of the outer surface.
The essence of post-impressionistic art is that it encourages the viewer to define the composition in terms of space, rather than mass. Paradoxically, we see the short vertical line symbolising power and authority undulate towards the centre of the carving, suggesting inconstancy.