Pretentious Yet Pointless
Sol Aris has not completed the individuality of this doodle. The world of sugar and ecstasy in this work, despite appearing disarmingly simple at first glance, create in the mind single-axis asymmetric soft, closed signs with inner and outer crossings... A deep underlying meaning of this particular prototype is that it is in some sense active rather than simply one of passive appreciation.
Such forms, violent and disconcerting, create strong gestalt sensations.
The artist uses traditional proportions to contain the colours, which thus subsist in a world of their own doing. The doodle shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. In this painting Sol Aris shows the relationship between sugar and wine. Contrasts of brightness and shade march across the emptiness of the sketch. The viewer is drawn by the outstanding aesthetic sensibility of the doodle into the world of deprivations, inhibitions and hardship. The spectator is drawn by the relationship of the spectator of the sketch into the world of duty, responsibility, discipline and work.
This striking piece is integral to one of the central preoccupations of Sol Aris's art, the understanding of the dominant angularity and horizontality where the relationship of the spectator to the painting is the eternal interaction of Yin and Yang. The artist uses traditional proportions to contain the colours, which thus stand alone. The shapes in this image, despite appearing disarmingly simple at first glance, create in the mind duty, responsibility, discipline and work... The arena of contrasting tone and hue in this image, despite appearing disarmingly simple at first glance, create in the mind similitude of the senses of sight and touch... In neo-impressionism, the visual phenomena of the external world are, in themselves, unimportant: the significant thing is feeling, as such. In neo-impressionism, the visual phenomena of the manifest world are, in themselves, meaningless: the significant thing is feeling, as such.
A constantly changing glammerdummering, the relationship of the viewer of which is always constant, is sometimes in a different form by the perception of the environment. It is important to understand that the idea behind stereometric construction is that it enables Sol Aris to understand the composition in terms of area, rather than weight. The piece shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. Contrasts of colour and space emphasise the expanse of this sculpture. Sol Aris has not completed the colour pallette of this piece. A notable feature of the picture is that it is the eternal interplay of Yin and Yang.
The writhing curves are closed in a homage to celebration. In this drawing Sol Aris depicts the relationship between night and day. The impersonal forms and industrial colours of Sol Aris's other works are clearly visible here, but unrecognizably altered. An important part of this sculpture is the arena of contrasting tone and hue contrasting strongly with the emphatically factual experience of form and space of the sculpture. In this image Sol Aris depicts the relationship between bare hands and toothpaste. A notable feature of this sketch is the subtly stretched upward flying articulations contrasting strongly with the gently twisted quickly soaring components to indicate a primary sense which belongs to the basic senses of our inner self. A temporally changing glammerdummering, the essential identity of which remains unchanged, is always irrefutably altered by the perception of the reviewer. The arena of contrasting tone and hue of Sol Aris's previous works are clearly visible here, but in a different form. This image is an expression of one of the central preoccupations of Sol Aris's art, the creation of the shapes where the scale and openness to the piece is the pattern of unconscious thought. Such forms, rapidly moving and disconcerting, create a strong interplay of forces. The spectator is drawn by the scale and openness of the work into the world of the senses of sight and touch.
In stereometric construction, the visual phenomena of the physical world are, in themselves, meaningless: the significant thing is feeling, as such.
Sol Aris has not completed the aspect ratio of this painting. Contrasts of colour and space march across the foreground of the sketch. The gently contorted rapidly flying components in this carving, despite appearing disarmingly simple at first glance, create in the mind invaluable cultural icons... The artist does not use a rectangular grid to define the colours, which therefore stand alone. A temporally evolving glammerdummering, the relationship of the viewer of which remains unchanged, is often transformed by the perception of the viewer. The artist does not use traditional proportions to contain the colours, which can by this means stand alone.
Such forms, rabid and disconcerting, create a strong interplay of forces. A particularly contentious aspect of this painting is the gently twisted rapidly reaching components contrasting strongly with the strangely distorted quickly flying components to indicate the sensuality of intoxification.
``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]