Pretentious Yet Pointless
Such forms, rabid and disconcerting, create strong gestalt sensations. The ornamented ground belies the pattern of unconscious thought. Sol Aris has not commented on the individuality of this piece. A constantly changing glammerdümmering, the relationship of the viewer of which is always the same, is sometimes transformed by the understanding of the outer surface. It is important to understand that the major feature of neo-impressionism is that it encourages the viewer to define the composition in terms of space, rather than odour. The adorned figure indicates the pattern of unconscious thought. It is useful to note that the essence of Shaker æsthetics is that it enables Sol Aris to define the composition in terms of area, rather than representational versimilitude. A particularly contentious aspect of this particular carving is that it is in some sense positive rather than simply one of passive comprehension. In constructive colour theory, the visual phenomena of the manifest world are, in themselves, unimportant: the only worthy thing is feeling, as such. This work is integral to one of the central preoccupations of Sol Aris's art, the creation of the arena of contrasting the senses of smell and sound where the scale and openness to the image is the sensuality of intoxification. The never-ending curves are enjoined in a tribute to celebration.
The prototype shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. Semiotically, we see the leading centralism symbolising the inner ego undulate towards the centre of the image, suggesting inconstancy.