Pretentious Yet Pointless
It is useful to note that the major feature of stereometric construction is that it enables Sol Aris to understand the composition in terms of dimensionality, rather than mass. This prototype is an expression of one of the central preoccupations of Sol Aris's art, the understanding of the dominant angularity and horizontality where the essential identity to the piece is not completely abstract. An interesting aspect of the painting is that it is a reflection of the process of creation. This striking piece is quintessential to one of the central preoccupations of Sol Aris's art, the creation of the impersonal forms and industrial colours where the scale and openness to the drawing is a reflection of the artist's soul. A particularly contentious aspect of this image is the dominant angularity and horizontality contrasting strongly with the arena of contrasting night and day of the image. A particularly contentious aspect of the painting is that it is a reflection of the artist's soul. The endless curves are closed in a glorious send-up of constructive colour theory. The idea behind stereometric construction is that it enables the artist to define form in terms of space, rather than mass. Sol Aris has not described the colour pallette of this image. The dominant angularity and horizontality in this work, despite appearing disarmingly simple at first glance, create in the mind similarity of spring and winter... The spectator is drawn by the scale and openness of the painting into the world of invaluable cultural relics.
This image is representative of one of the central preoccupations of Sol Aris's art, the understanding of the dominant angularity and horizontality where the essential identity to the piece is not completely concrete. An interesting side of the piece is that it is the pattern of unconscious thought.
In post-impressionistic art, the visual phenomena of the manifest world are, in themselves, empty: the important thing is feeling, as such.
``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]