Pretentious Yet Pointless
It is important to understand that the essence of the Suprematist theory is that it enables Sol Aris to understand form in terms of space, rather than weight. An important part of this particular image is that it is a reflection of the artist's soul. The artist avoids traditional proportions to define the colours, which can by this means subsist in a world of their own making. In this prototype Sol Aris delineates the relationship between the senses of sight and touch.
Such forms, quietly formal, create disarmingly strong feelings. A temporally changing network, the relationship of the spectator of which remains unchanged, is always entirely altered by the understanding of the outer surface. The beribboned background belies the eternal dimension and its limitless possibilities. In the Suprematist theory, the visual phenomena of the unexplored world are, in themselves, empty: the important thing is feeling, as such. Sol Aris has not commented on the meaning of this sculpture.
The garnished figure belies the eternal interplay of Yin and Yang. The viewer is drawn by the essential identity of the work into the world of graceful lissome curves.
The adorned canvas enriches the essential difference between pattern and texture. Of a sudden, we see the short vertical line symbolising the inner ego curve back and forth, suggesting inconstancy.
The receding curves are closed in a tribute to celebration. The endless curves are intertwined in a homage to Shaker æsthetics.
Contrasts of dark and light emphasise the emptiness of this work. An interesting aspect of the sketch is that it is a division of space that parallels our innermost confusion. In Shaker æsthetics, the visual phenomena of the objective world are, in themselves, empty: the important thing is feeling, as such.
Sol Aris has not completed the colour pallette of this work. The viewer is drawn by the scale and openness of the work into the world of measure when calculating long periods of time.
This image is representative of one of the central preoccupations of Sol Aris's art, the creation of the dominant angularity and horizontality where the extraordinarily refined aesthetic sensibility to the piece is a natural sense which belongs to the basic senses of our inner self. The dominant angularity and horizontality of Sol Aris's other works are still present, but transformed. The decorated canvas belies the pattern of unconscious thought. A constantly changing network, the scale and openness of which never changes, is always irrefutably altered by the mere presence of the reviewer.
In this carving Sol Aris demonstrates clearly the relationship between brightness and shade. It is important to understand that the idea behind Shaker æsthetics is that it enables Sol Aris to understand form in terms of dimensionality, rather than representational versimilitude. The drawing shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. Such forms, delicately variegated, create strong gestalt sensations.