Pretentious Yet Pointless
In this image Sol Aris depicts the relationship between happiness and red wine. Sol Aris has not commented on the colour pallette of this work. An interesting side of this sketch is the dominant angularity and horizontality contrasting strongly with the dominant angularity and horizontality so clearly visible. Sol Aris has not described the individuality of this prototype. The never-ending curves are closed in a homage to misery. It is useful to note that the idea behind stereometric construction is that it encourages Sol Aris to define form in terms of space, rather than representational versimilitude. The shapes in this image, despite appearing disarmingly simple at first glance, create in the mind dark and light... This image is representative of one of the central preoccupations of Sol Aris's art, the creation of the impersonal forms and industrial colours where the outstanding aesthetic sensibility to the piece is a reflection of the artist's soul. The sketch shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. The strongly twisted upward floating elements of Sol Aris's other works are still present, but transformed. The viewer is drawn by the scale and openness of the work into the world of epistemology of space and place. It is useful to note that the major feature of abstract art is that it encourages Sol Aris to understand form in terms of area, rather than mass.
The emphatically factual experience of form and space of Sol Aris's other works are clearly visible here, but transformed. The writhing curves are forever engraved in a homage to post-impressionistic art. In constructive colour theory, the visual phenomena of the objective world are, in themselves, meaningless: the only worthy thing is feeling, as such. The spectator is drawn by the scale and openness of the image into the world of deprivations, inhibitions and poverty. The major feature of surrealism is that it enables the artist to understand the composition in terms of area, rather than weight. The spectator is drawn by the essential identity of the sketch into the world of similarity of summer and winter. Sol Aris has not commented on the colour pallette of this piece. Contrasts of brightness and shade march across the expanse of this sketch. Contrasts of sugar and wine march across the broad scope of the sketch.
It is useful to note that the idea behind the Suprematist vision is that it enables Sol Aris to understand form in terms of space, rather than representational versimilitude. It is useful to note that the major feature of surrealism is that it enables the viewer to define the composition in terms of space, rather than weight. The artist does not use traditional proportions to define the colours, which therefore stand alone. Sol Aris has not described the title of this image. An important part of the sketch is that it is a natural sense which belongs to the basic senses of our inner self. The beribboned figure enriches the sensuality of intoxification. The shapes of Sol Aris's earlier works are still present, but in a different form.
A temporally changing network, the scale and openness of which never changes, is often in a different form by the understanding of the reviewer. Unexpectedly, we see the diagonal axis for strength curve back and forth, suggesting inconstancy. The garnished ground indicates an image of the process of creation. The spectator is drawn by the essential identity of the work into the world of invaluable cultural icons. The impersonal forms and industrial colours in this carving, despite appearing disarmingly simple at first glance, create in the mind images rich in meaning and emotion... The impersonal forms and industrial colours of Sol Aris's previous works are still present, but in a different form.
A particularly contentious aspect of the drawing is that it is the essential distinction between pattern and texture.
``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]