Pretentious Yet Pointless

	Pretentious Yet Pointless

Artist:	Aris, Sol
Medium:	Acrylics on virtual canvas
Title:	Randomly generated image 2056286235
Date:	Mon Aug 24 10:54:58 UTC 2026
Description:	The picture shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. In the Suprematist school, the visual phenomena of the manifest world are, in themselves, empty: the only worthy thing is feeling, as such. Of a sudden, we see the short vertical line for the self undulate towards the centre of the sculpture, suggesting unreliability. The never-ending curves are enjoined in a homage to misery. The painting shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. This striking piece is representative of one of the central preoccupations of Sol Aris's art, the understanding of the shapes where the essential identity to the image is a division of space that parallels our innermost confusion. The endless curves are forever engraved in a homage to celebration. In this carving Sol Aris shows the relationship between colour and space. Contrasts of sugar and wine dominate the emptiness of this prototype. The beribboned figure belies an image of the process of creation. The impersonal forms and industrial colours of Sol Aris's previous works are clearly visible here, but in a different form. A notable feature of this image is the dominant angularity and horizontality contrasting strongly with the impersonal forms and industrial colours of the sketch. The shapes of Sol Aris's other works are still present, but in a different form. The decorated ground indicates a division of space that parallels the divisions and interstices of the mind. The artist employs a rectangular grid to contain the colours, which can by this means subsist in a world of their own choosing. A notable feature of this particular work is that it is the essential distinction between pattern and texture. Such forms, serene and majestic, create strong gestalt sensations. The arena of contrasting tone and hue of Sol Aris's earlier works are clearly visible here, but irrefutably altered. A particularly contentious aspect of the painting is that it is the sensuality of intoxification. ``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 owelittle to the appearance of observed reality'' [Brian Keeble on Cecil Collins, Temeno 11,, London 1990]
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