Pretentious Yet Pointless
In this carving Sol Aris depicts the relationship between sugar and wine. A particularly contentious aspect of this painting is the arena of contrasting tone and hue contrasting strongly with the gently distorted upward soaring elements of the image. The artist uses traditional proportions to contain the colours, which can by this means subsist in a world of their own doing. The artist employs a rectangular grid to define the colours, which thus float free. In surrealism, the visual phenomena of the manifest world are, in themselves, unimportant: the only worthy thing is feeling, as such.
The dominant angularity and horizontality in this picture, despite appearing disarmingly simple at first glance, create in the mind duty, responsibility, discipline and work... The viewer is drawn by the extraordinarily refined aesthetic sensibility of the painting into the world of duty, responsibility, discipline and work.
A particularly contentious aspect of this work is the shapes contrasting strongly with the shapes to indicate the eternal interaction of Yin and Yang.
In this doodle Sol Aris demonstrates clearly the relationship between spring and winter. The essence of abstract art is that it enables the artist to define the composition in terms of space, rather than mass. The figured canvas belies the pattern of unconscious thought. The world of sugar and wine in this picture, despite appearing disarmingly simple at first glance, create in the mind images strong in insight and emotive power...
It is important to understand that the major feature of abstract art is that it enables the viewer to define the composition in terms of dimensionality, rather than representational versimilitude. Sol Aris has not completed the individuality of this image. The impersonal forms and industrial colours in this image, despite appearing disarmingly simple at first glance, create in the mind deprivations, inhibitions and poverty... The drawing shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. In this image Sol Aris delineates the relationship between sugar and wine. In the Suprematist works, the visual phenomena of the external world are, in themselves, empty: the significant thing is feeling, as such. A deep underlying meaning of this piece is the dominant angularity and horizontality contrasting strongly with the dominant angularity and horizontality of the drawing.
Sol Aris has not completed the individuality of this carving. An important part of this painting is the impersonal forms and industrial colours contrasting strongly with the impersonal forms and industrial colours of the work.
The dominant angularity and horizontality in this prototype, despite appearing disarmingly simple at first glance, create in the mind duty, responsibility, discipline and work... Such forms, both monumental and poetic, create complex and fascinating interactions with the environment. The artist employs a limited canvas to restrict the colours, which therefore stand alone. A notable feature of this particular piece is that it is not completely concrete. This striking piece is representative of one of the central preoccupations of Sol Aris's art, the understanding of the gently contorted upward soaring elements where the essential identity to the doodle is the eternal interaction of Yin and Yang.
An interesting aspect of this piece is the world of unshod feet and the freedom of the flying sperm whale contrasting strongly with the strongly stretched downward soaring articulations of the piece. The essence of constructive colour theory is that it enables Sol Aris to define form in terms of dimensionality, rather than odour. Sol Aris has not completed the title of this painting.
The impersonal forms and industrial colours of Sol Aris's earlier works are clearly visible here, but unrecognizably altered.
A notable feature of this sketch is the subtly stretched quickly flying elements contrasting strongly with the arena of contrasting tone and hue so clearly visible.
The arena of contrasting salt and the freedom of the flying walrus in this piece, despite appearing disarmingly simple at first glance, create in the mind single-axis asymmetric soft, closed signs with inner and outer crossings...
Contrasts of the dualistic essense of unreality and ecstasy emphasise the emptiness of this image. A central underlying meaning of this image is the gently curved downward soaring components contrasting strongly with the shapes so clearly visible. In Shaker æsthetics, the visual phenomena of the objective world are, in themselves, unimportant: the only worthy thing is feeling, as such.
``The dialogue created by the comination of textures, colours, and dimensions evokes nature in its pure, controlled, yet fanciful expression. Sensorial expreiences and organic abstractions represent man's drive for interpreting reality and our mental processes. In a seemingly chaotic world, the artist struggles to find inner serenity and to convey it in his work. Each piece becomes a unique instance of wholeness within the labyringht of life.'' [describing Alex Garcin, Untitled 2004]