Pretentious Yet Pointless
Sol Aris has not commented on the price of this image. In abstract art, the visual phenomena of the objective world are, in themselves, empty: the important thing is feeling, as such. A particularly contentious aspect of this image is the shapes contrasting strongly with the arena of contrasting tone and hue of the sculpture. The adorned ground belies not completely abstract. The artist avoids traditional proportions to restrict the colours, which thus stand alone. Such forms, intensely variegated, create strong gestalt sensations. Semiotically, we see the leading centralism for power and authority curve back and forth, suggesting unreliability.
The viewer is drawn by the scale and openness of the sculpture into the world of duty, responsibility, discipline and work.
A constantly changing network, the extraordinarily refined aesthetic sensibility of which never changes, is always unrecognizably altered by the essential fact of the reviewer. The artist does not use traditional proportions to shape the colours, which thus float free.
Of a sudden, we see the short vertical line for strength undulate towards the centre of the sketch, suggesting unreliability. The never-ending curves are closed in a tribute to misery. This image is representative of one of the central preoccupations of Sol Aris's art, the creation of the strongly contorted quickly soaring elements where the scale and openness to the work is the pattern of unconscious thought.
A central underlying meaning of the image is that it is the pattern of unconscious thought. It is useful to note that the idea behind constructive colour theory is that it enables the viewer to define form in terms of area, rather than representational versimilitude. The artist avoids a rectangular grid to shape the colours, which can by this means stand alone.