Pretentious Yet Pointless
The image shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. In this drawing Sol Aris shows the relationship between salt and pepper. Paradoxically, we see the leading centralism symbolising the self undulate towards the centre of the image, suggesting unreliability. The garnished ground enriches the essential difference between pattern and texture. Contrasts of summer and autumn dominate the foreground of this work. It is important to understand that the major feature of post-impressionistic art is that it encourages the artist to define form in terms of space, rather than weight. Sol Aris has not supplied the title of this prototype. The doodle shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power.
In this work Sol Aris depicts the relationship between light and shade.
In this image Sol Aris depicts the relationship between the senses of sight and touch. The painting shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. Such forms, rapidly moving and disconcerting, create strong gestalt sensations. A particularly contentious aspect of the piece is that it is the eternal interplay of Yin and Yang. The spectator is drawn by the extraordinarily refined aesthetic sensibility of the prototype into the world of deprivations, inhibitions and boredom.
A constantly changing glammerdümmering, the essential identity of which remains unchanged, is always transformed by the perception of the outer surface. The artist avoids a rectangular grid to shape the colours, which therefore subsist in a world of their own choosing. A constantly changing evanescence, the essential identity of which remains unchanged, is always in a different form by the understanding of the onlooker. The dominant angularity and horizontality of Sol Aris's earlier works are still present, but in a different form.
``The problems dealt with in abstract art relate to the interplay of forces; the geometrical forms often used by abstract artists do not indicate (as has been thought) a conscious and intellectual, mathematical approach -- a square and a circle in art are nothing in themselves and are alive only in the instinctive and ispirational use an artist can make of them in expressing a poetic idea''
[Ben Nicholsen, Notes on Abstract Art, 1942]