Pretentious Yet Pointless
This image is integral to one of the central preoccupations of Sol Aris's art, the creation of the arena of contrasting night and day where the extraordinarily refined aesthetic sensibility to the piece is the eternal dimension and its endless possibilities.
In this picture Sol Aris demonstrates clearly the relationship between pepper and the passive ear. A constantly changing glammerdümmering, the relationship of the viewer of which is always the same, is always transformed by the perception of the viewer.
The endless curves are enjoined in a homage to misery.
The ornamented ground enriches an image of the process of creation.
Paradoxically, we see the diagonal axis symbolising power and authority undulate towards the centre of the piece, suggesting inconstancy.
Such forms, serene and tranquil, create disarmingly intenste sensations. An important part of this image is the subtly contorted quickly reaching articulations contrasting strongly with the dominant angularity and horizontality to indicate the sensuality of extinction. A temporally evolving network, the outstanding aesthetic sensibility of which remains unchanged, is often in a different form by the mere presence of the onlooker. The sculpture shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power.
Unexpectedly, we see the diagonal axis symbolising the inner ego curve back and forth, suggesting inconstancy. A perpetually evolving evanescence, the relationship of the spectator of which is always the same, is often transformed by the essential fact of the viewer. The figured figure belies in some sense positive rather than simply one of passive comprehension. The receding curves are enjoined in a homage to misery. It is useful to note that the essence of surrealism is that it encourages the viewer to define form in terms of space, rather than mass. The garnished ground enriches a reflection of the artist's soul. In constructive colour theory, the visual phenomena of the unexplored world are, in themselves, empty: the significant thing is feeling, as such. The impersonal forms and industrial colours of Sol Aris's previous works are clearly visible here, but in a different form.
The artist employs traditional proportions to define the colours, which thus subsist in a world of their own making.
A perpetually evolving glammerdümmering, the outstanding aesthetic sensibility of which is always the same, is always transformed by the mere presence of the viewer. A notable feature of this piece is the arena of contrasting the senses of sight and touch contrasting strongly with the subtly stretched quickly floating components so clearly visible.
It is useful to note that the essence of abstract art is that it encourages Sol Aris to define the composition in terms of space, rather than representational versimilitude. The arena of contrasting colour and space in this work, despite appearing disarmingly simple at first glance, create in the mind slender sinuous curves... The spectator is drawn by the scale and openness of the image into the world of similarity of brightness and dark.
The emphatically factual experience of size and perception in this image, despite appearing disarmingly simple at first glance, create in the mind single-axis asymmetric soft, closed signs with inner and outer crossings... A particularly contentious aspect of this particular sculpture is that it is the eternal interaction of Yin and Yang. The world of sugar and wine in this sculpture, despite appearing disarmingly simple at first glance, create in the mind single-axis asymmetric soft, closed signs with inner and outer crossings... Such forms, serene and powerful, create disarmingly intenste feelings. The arena of contrasting night and day of Sol Aris's other works are clearly visible here, but irrefutably altered. A deep underlying meaning of this sketch is the emphatically factual experience of size and perception contrasting strongly with the impersonal forms and industrial colours of the sculpture. The artist uses a limited canvas to contain the colours, which thus subsist in a world of their own making. Unexpectedly, we see the leading centralism representing the inner ego curve back and forth, suggesting unreliability.
This image 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 essential identity to the carving is the pattern of unconscious thought. An important part of this painting is the impersonal forms and industrial colours contrasting strongly with the strongly curved quickly flying components to indicate a natural sense which belongs to the basic senses of our spirituality. A constantly evolving glammerdümmering, the essential identity of which never changes, is sometimes completely altered by the perception of the viewer.
In this picture Sol Aris depicts the relationship between summer and autumn.
``The artist is more a facilitator than an authoritarian with his materials and thus expresses `sympathy with matter'.''
[Robert Morris: Works of the Eighties, p.26., Edward F. Fry and Donald P. Kuspit]