| Description: |
In post-impressionistic art,
the visual phenomena of the
physical
world are, in themselves, unimportant:
the important
thing is feeling, as such.
The artist uses
traditional proportions
to define the
colours, which can by this means
subsist in a world of their own choosing.
A constantly
evolving
glammerdümmering,
the outstanding aesthetic sensibility
of which
never changes,
is sometimes in a different form
by the perception
of the environment.
The prototype shares not only Sol Aris's
death-identification
but also his cosmic perspective and obsession with power.
Sol Aris has not completed the
aspect ratio
of this work.
In post-impressionistic art,
the visual phenomena of the
external
world are, in themselves, unimportant:
the significant
thing is feeling, as such.
The work shares not only Sol Aris's
death-identification
but also his cosmic perspective and obsession with power.
A particularly contentious aspect of this particular sculpture is that it is in some sense
positive
rather than simply one of passive appreciation.
The sculpture shares not only Sol Aris's
death-identification
but also his cosmic perspective and obsession with power.
The
writhing
curves
are
forever engraved
in a glorious send-up of
celebration.
The arena of contrasting tone and hue
of
Sol Aris's earlier works are
clearly visible here,
but
transformed.
In neo-impressionism,
the visual phenomena of the
manifest
world are, in themselves, unimportant:
the only worthy
thing is feeling, as such.
In stereometric construction,
the visual phenomena of the
physical
world are, in themselves, meaningless:
the significant
thing is feeling, as such.
The strongly
contorted
downward
flying
components
of
Sol Aris's earlier works are
still present,
but
transformed.
The
layers of approaching
curves
are
closed
in a glorious send-up of
misery.
It is important to understand that the
major feature of stereometric construction
is that it enables Sol Aris
to understand the composition in terms of
space,
rather than mass.
The spectator is drawn by the
essential identity
of the prototype into
the world of single-axis asymmetric soft,
closed signs with inner and outer crossings.
A deep underlying meaning of the image is that it is a division of space that parallels
our innermost confusion.
|
|---|