Pretentious Yet Pointless | |
| Artist: | Aris, Sol |
| Medium: | Acrylics on virtual canvas |
| Title: | Randomly generated image 2056136214 |
| Date: | Sat Jul 18 14:18:18 UTC 2026 |
| Description: |
This piece is
integral to
one of the central preoccupations of Sol Aris's art,
the understanding of the
shapes
where the essential identity to the piece
is
the eternal interaction of Yin and Yang.
Contrasts of sugar and wine
dominate
the
foreground
of this carving.
Such forms, serene and majestic, create disarmingly strong shivers of emotion.
The viewer is drawn by the
essential identity
of the work into
the world of images strong
in insight and association.
The spectator is drawn by the
outstanding aesthetic sensibility
of the image into
the world of similarity of the senses of smell and sound.
It is useful to note that the
idea behind neo-impressionism
is that it encourages the artist
to define form in terms of
dimensionality,
rather than representational versimilitude.
Sol Aris has not commented on the
price
of this work.
This striking piece is
integral to
one of the central preoccupations of Sol Aris's art,
the understanding of the
impersonal forms and industrial colours
where the relationship of the viewer to the piece
is
the sensuality of intoxification.
A deep underlying meaning of this picture is the world of the senses of sight and taste contrasting strongly with the world of lager and pepper so clearly visible. In post-impressionistic art, the visual phenomena of the objective world are, in themselves, unimportant: the significant thing is feeling, as such. The arena of contrasting tone and hue of Sol Aris's previous works are still present, but transformed. Contrasts of the senses of sight and touch emphasise the expanse of the doodle. It is important to understand that the major feature of abstract art is that it enables Sol Aris to understand form in terms of dimensionality, rather than representational versimilitude. Such forms, violent and disconcerting, create complex and fascinating interactions with the self. Contrasts of dark and light emphasise the emptiness of the drawing. A particularly contentious aspect of this particular image is that it is in some sense active rather than simply one of passive appreciation. The viewer is drawn by the extraordinarily refined aesthetic sensibility of the picture into the world of images steeped in meaning and emotion. In Shaker æsthetics, the visual phenomena of the physical world are, in themselves, unimportant: the significant thing is feeling, as such. |
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