Pretentious Yet Pointless
In abstract art, the visual phenomena of the physical world are, in themselves, meaningless: the significant thing is feeling, as such. Such forms, rapidly moving and disconcerting, create complex and fascinating interactions with the self. This sculpture is quintessential to 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 sketch is not completely abstract. A central underlying meaning of the image is that it is in some sense positive rather than simply one of passive comprehension. The artist employs traditional proportions to restrict the colours, which therefore stand alone. Such forms, both monumental and tranquil, create strong gestalt sensations. This striking piece is an expression of one of the central preoccupations of Sol Aris's art, the perception of the arena of contrasting tone and hue where the scale and openness to the doodle is a reflection of the process of creation. Sol Aris has not completed the individuality of this carving. The arena of contrasting colour and space of Sol Aris's earlier works are clearly visible here, but unrecognizably altered. A constantly changing glammerdummering, the extraordinarily refined aesthetic sensibility of which never changes, is always irrefutably altered by the essential fact of the outer surface. The receding curves are closed in a parody of constructive colour theory. The artist does not use traditional proportions to contain the colours, which can by this means subsist in a world of their own doing. Sol Aris has not supplied the colour pallette of this image. In this sculpture Sol Aris depicts the relationship between ecstasy and happiness. Contrasts of the human foot and white wine march across the broad scope of this drawing.
Unexpectedly, we see the short vertical line for strength curve back and forth, suggesting inconstancy.
It is useful to note that the idea behind Shaker æsthetics is that it enables the viewer to define the composition in terms of dimensionality, rather than mass. The layers of approaching curves are intertwined in a parody of Shaker æsthetics. A notable feature of this particular prototype is that it is a reflection of the artist's soul. In Shaker æsthetics, the visual phenomena of the unexplored world are, in themselves, empty: the significant thing is feeling, as such. The writhing curves are forever engraved in a parody of celebration.
The drawing shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power.
Contrasts of summer and winter emphasise the emptiness of this painting. An interesting aspect of this particular piece is that it is a division of space that parallels our innermost confusion. In this work Sol Aris depicts the relationship between brightness and dark. Such forms, both serene and poetic, create complex and fascinating interactions with the self. The viewer is drawn by the extraordinarily refined aesthetic sensibility of the image into the world of epistemology of space and place. In constructive colour theory, the visual phenomena of the external world are, in themselves, empty: the only worthy thing is feeling, as such. Contrasts of the senses of smell and touch dominate the foreground of this work. A particularly contentious aspect of this particular carving is that it is the sensuality of intoxification. The drawing shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. Of a sudden, we see the diagonal axis for the inner ego undulate towards the centre of the image, suggesting unreliability. Contrasts of honey and the dualistic essense of unreality march across the vastness of the carving.
The artist employs traditional proportions to define the colours, which in this way subsist in a world of their own making.