Pretentious Yet Pointless

	Pretentious Yet Pointless

Artist:	Aris, Sol
Medium:	Acrylics on virtual canvas
Title:	Randomly generated image 2056053080
Date:	Thu Jun 25 16:48:20 EDT 2026
Description:	Such forms, delicately variegated, create disarmingly strong feelings. Of a sudden, we see the leading centralism symbolising the self curve back and forth, suggesting unreliability. A particularly contentious aspect of this doodle is the impersonal forms and industrial colours contrasting strongly with the arena of contrasting tone and hue so clearly visible. The embellished background enriches a primary sense which belongs to the basic senses of our very being. The world of the senses of smell and sight of Sol Aris's earlier works are still present, but entirely altered. A constantly changing network, the scale and openness of which never changes, is sometimes irrefutably altered by the mere presence of the viewer. This image is integral to one of the central preoccupations of Sol Aris's art, the creation of the dominant angularity and horizontality where the scale and openness to the work is a division of space that parallels the divisions and interstices of the mind. The adorned canvas indicates not completely abstract. The picture shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. In abstract art, the visual phenomena of the objective world are, in themselves, meaningless: the only worthy thing is feeling, as such. In post-impressionistic art, the visual phenomena of the unexplored world are, in themselves, empty: the significant thing is feeling, as such. In this carving Sol Aris demonstrates clearly the relationship between white wine and honey. The viewer is drawn by the scale and openness of the picture into the world of images steeped in insight and emotion. An important part of the picture is that it is an image of the process of creation. The garnished canvas indicates the essential contrast between pattern and texture. The essence of constructive colour theory is that it encourages Sol Aris to understand form in terms of space, rather than mass. The embellished background belies not completely abstract. The piece shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. Such forms, quietly formal, create complex and fascinating interactions with the self. ``This art, facing forwards and inwards, is of images of expectation and spiritual progress that are freighted with no historical context at all and which owelittle to the appearance of observed reality'' [Brian Keeble on Cecil Collins, Temeno 11,, London 1990]
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