Pretentious Yet Pointless

	Pretentious Yet Pointless

Artist:	Aris, Sol
Medium:	Acrylics on virtual canvas
Title:	Randomly generated image 2056465163
Date:	Wed Sep 30 11:44:18 UTC 2026
Description:	A notable feature of this image is the world of the senses of smell and touch contrasting strongly with the world of lager and white wine to indicate the pattern of unconscious thought. It is useful to note that the idea behind post-impressionistic art is that it encourages the artist to understand form in terms of space, rather than mass. The figured canvas belies a division of space that parallels the divisions and interstices of the mind. It is useful to note that the essence of constructive colour theory is that it encourages the artist to define the composition in terms of dimensionality, rather than representational versimilitude. A perpetually changing evanescence, the scale and openness of which never changes, is sometimes irrefutably altered by the perception of the viewer. A temporally changing glammerdummering, the essential identity of which is always constant, is always transformed by the understanding of the outer surface. The artist employs a rectangular grid to define the colours, which can by this means float free. The artist uses traditional proportions to define the colours, which therefore stand alone. The world of sugar and wine in this picture, despite appearing disarmingly simple at first glance, create in the mind the senses of sight and taste... A notable feature of this picture is the world of colour and space contrasting strongly with the arena of contrasting tone and hue of the sculpture. Sol Aris has not completed the colour pallette of this image. The adorned ground belies not completely abstract. It is important to understand that the essence of stereometric construction is that it encourages the viewer to define form in terms of area, rather than weight. The world of dark and light of Sol Aris's earlier works are clearly visible here, but entirely altered. A constantly changing evanescence, the essential identity of which never changes, is often in a different form by the understanding of the environment. Such forms, rapidly moving and disconcerting, create disarmingly strong shivers of emotion. An important part of the picture is that it is the pattern of unconscious thought. The here and now experience of size and perception of Sol Aris's previous works are still present, but completely altered. The world of the senses of smell and sound in this work, despite appearing disarmingly simple at first glance, create in the mind single-axis asymmetric soft, closed signs with inner and outer crossings... ``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]
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