Pretentious Yet Pointless

	Pretentious Yet Pointless

Artist:	Aris, Sol
Medium:	Acrylics on virtual canvas
Title:	Randomly generated image 2056353333
Date:	Wed Sep 9 08:35:09 UTC 2026
Description:	In Shaker æsthetics, the visual phenomena of the unexplored world are, in themselves, unimportant: the important thing is feeling, as such. A perpetually changing evanescence, the scale and openness of which is always constant, is often transformed by the perception of the onlooker. The viewer is drawn by the relationship of the spectator of the image into the world of duty, responsibility, discipline and work. This striking piece is representative of one of the central preoccupations of Sol Aris's art, the perception of the arena of contrasting spring and winter where the scale and openness to the picture is a reflection of the artist's soul. Such forms, rabid and disconcerting, create strong gestalt sensations. The artist employs traditional proportions to contain the colours, which can by this means float free. The layers of approaching curves are enjoined in a parody of constructive colour theory. A notable feature of the work is that it is in some sense positive rather than simply one of passive comprehension. The layers of approaching curves are closed in a homage to misery. The image shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. A notable feature of this work is the emphatically factual experience of size and perception contrasting strongly with the emphatically factual experience of form and space to indicate a division of space that parallels the divisions and interstices of the mind. An interesting aspect of this work is the arena of contrasting tone and hue contrasting strongly with the strangely stretched quickly reaching articulations to indicate the sensuality of intoxification. It is useful to note that the major feature of neo-impressionism is that it encourages the artist to understand the composition in terms of space, rather than representational versimilitude. ``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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