Pretentious Yet Pointless | |
| Artist: | Aris, Sol |
| Medium: | Acrylics on virtual canvas |
| Title: | Randomly generated image 2056281382 |
| Date: | Sun Aug 23 11:50:39 UTC 2026 |
| Description: |
Contrasts of spring and winter
dominate
the
expanse
of the painting.
The artist uses
a limited canvas
to define the
colours, which thus
stand alone.
This image is
representative of
one of the central preoccupations of Sol Aris's art,
the creation of the
subtly
contorted
rapidly
soaring
elements
where the relationship of the viewer to the piece
is
the pattern of unconscious thought.
The
ornamented
ground
belies
the essential difference between pattern and texture.
In this work Sol Aris
shows
the relationship between
spring and autumn.
The arena of contrasting tone and hue
of
Sol Aris's earlier works are
still present,
but
transformed.
The artist does not use
traditional proportions
to contain the
colours, which therefore
float free.
A particularly contentious aspect of the drawing is that it is a natural sense
which belongs to the basic senses of
our physiology.
The shapes
of
Sol Aris's previous works are
still present,
but
unrecognizably altered.
A constantly
changing
glammerdummering,
the relationship of the viewer
of which
remains unchanged,
is often unrecognizably altered
by the essential fact
of the viewer.
The spectator is drawn by the
extraordinarily refined aesthetic sensibility
of the prototype into
the world of slender lissome curves.
Contrasts of rolling sand and honey
emphasise
the
expanse
of this drawing.
Such forms, rapidly moving and disconcerting, create a strong interaction of forces.
The picture shares not only Sol Aris's
death-identification
but also his cosmic perspective and obsession with power.
In the Suprematist vision,
the visual phenomena of the
physical
world are, in themselves, meaningless:
the only worthy
thing is feeling, as such.
``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 owe little to the appearance of observed reality.'' [Brian Keeble, on Cecil Collins, Temeno 11, London, 1990, p.114] |
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