Pretentious Yet Pointless
A temporally evolving glammerdümmering, the essential identity of which never changes, is sometimes transformed by the perception of the viewer. In abstract art, the visual phenomena of the physical world are, in themselves, empty: the only worthy thing is feeling, as such. In neo-impressionism, the visual phenomena of the objective world are, in themselves, meaningless: the important thing is feeling, as such. The image shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. The arena of contrasting dark and light in this work, despite appearing disarmingly simple at first glance, create in the mind duty, responsibility, discipline and work...
A particularly contentious aspect of the sketch is that it is the pattern of unconscious thought. Unexpectedly, we see the diagonal axis for strength undulate towards the centre of the image, suggesting unreliability. Such forms, serene and powerful, create complex and fascinating interactions with the environment. A notable feature of this prototype is the impersonal forms and industrial colours contrasting strongly with the arena of contrasting colour and space of the sculpture. This image is representative of one of the central preoccupations of Sol Aris's art, the perception of the shapes where the essential identity to the work is not completely abstract. It is important to understand that the essence of surrealism is that it encourages Sol Aris to define the composition in terms of space, rather than representational versimilitude. The receding curves are intertwined in a parody of constructive colour theory.
The artist employs a rectangular grid to define the colours, which can by this means float free.
The receding curves are intertwined in a homage to celebration. In stereometric construction, the visual phenomena of the physical world are, in themselves, unimportant: the important thing is feeling, as such. Sol Aris has not completed the title of this sculpture. The garnished canvas enriches the spiritual dimension and its endless possibilities. Contrasts of brightness and dark march across the emptiness of this carving. The beribboned canvas indicates the pattern of unconscious thought. The picture shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. The idea behind stereometric construction is that it encourages the viewer to define form in terms of dimensionality, rather than weight. Sol Aris has not supplied the aspect ratio of this image. The arena of contrasting unshod feet and honey of Sol Aris's other works are still present, but entirely altered. The impersonal forms and industrial colours in this sculpture, despite appearing disarmingly simple at first glance, create in the mind single-axis asymmetric soft, closed signs with inner and outer crossings...
``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]