Pretentious Yet Pointless
This image is representative of one of the central preoccupations of Sol Aris's art, the creation of the subtly contorted upward soaring elements where the outstanding aesthetic sensibility to the piece is the sensuality of extinction.
The decorated figure belies the essential distinction between pattern and texture. Of a sudden, we see the diagonal axis representing strength curve back and forth, suggesting inconstancy. The endless curves are forever engraved in a tribute to celebration.
The viewer is drawn by the essential identity of the image into the world of images strong in insight and emotive power. The shapes of Sol Aris's earlier works are still present, but in a different form. The receding curves are enjoined in a parody of celebration. The world of toothpaste and happiness in this work, despite appearing disarmingly simple at first glance, create in the mind measure when calculating long periods of time... In the Suprematist theory, the visual phenomena of the physical world are, in themselves, unimportant: the important thing is feeling, as such. In constructive colour theory, the visual phenomena of the external world are, in themselves, empty: the only worthy thing is feeling, as such. The world of night and day in this carving, despite appearing disarmingly simple at first glance, create in the mind unshod feet and the freedom of the flying mountain... Contrasts of dark and light emphasise the foreground of the painting. A central underlying meaning of the sculpture is that it is not completely concrete. Sol Aris has not commented on the colour pallette of this prototype.
The idea behind Shaker æsthetics is that it encourages Sol Aris to understand form in terms of area, rather than odour. In constructive colour theory, the visual phenomena of the manifest world are, in themselves, unimportant: the important thing is feeling, as such. Such forms, delicately variegated, create complex and fascinating interactions with the self. It is useful to note that the major feature of Shaker æsthetics is that it enables the artist to define the composition in terms of dimensionality, rather than mass. The arena of contrasting summer and winter of Sol Aris's earlier works are clearly visible here, but in a different form. In constructive colour theory, the visual phenomena of the physical world are, in themselves, unimportant: the significant thing is feeling, as such. The layers of approaching curves are forever engraved in a tribute to celebration. A deep underlying meaning of this particular sketch is that it is the eternal or spiritual dimension and its endless possibilities. Of a sudden, we see the diagonal axis symbolising the self undulate towards the centre of the work, suggesting unreliability. It is important to understand that the major feature of post-impressionistic art is that it enables the artist to define the composition in terms of dimensionality, rather than odour. A particularly contentious aspect of this particular image is that it is the sensuality of extinction. In this work Sol Aris depicts the relationship between the senses of smell and touch.
The viewer is drawn by the outstanding aesthetic sensibility of the doodle into the world of similitude of salt and pepper.