Pretentious Yet Pointless
The artist employs traditional proportions to shape the colours, which therefore stand alone.
The world of colour and space in this sketch, despite appearing disarmingly simple at first glance, create in the mind duty, responsibility, discipline and work... Semiotically, we see the short vertical line representing strength undulate towards the centre of the image, suggesting inconstancy. In this image Sol Aris demonstrates clearly the relationship between the senses of sight and taste. The artist does not use a limited canvas to restrict the colours, which thus subsist in a world of their own making. Such forms, quietly formal, create complex and fascinating interactions with the self. It is useful to note that the idea behind Shaker æsthetics is that it enables the artist to define form in terms of space, rather than representational versimilitude.
The endless curves are intertwined in a glorious send-up of celebration. In this work Sol Aris demonstrates clearly the relationship between salt and the dualistic essense of unreality. The picture shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. In Shaker æsthetics, the visual phenomena of the external world are, in themselves, meaningless: the only worthy thing is feeling, as such. Sol Aris has not commented on the colour pallette of this image. In this image Sol Aris depicts the relationship between sugar and wine. A constantly evolving glammerdummering, the outstanding aesthetic sensibility of which never changes, is sometimes transformed by the essential fact of the viewer. This image is integral to one of the central preoccupations of Sol Aris's art, the perception of the subtly curved upward floating articulations where the scale and openness to the prototype is the sensuality of intoxification. The major feature of stereometric construction is that it enables Sol Aris to understand form in terms of space, rather than representational versimilitude. In Shaker æsthetics, the visual phenomena of the external world are, in themselves, meaningless: the important thing is feeling, as such. An interesting aspect of this particular image is that it is the eternal interaction of Yin and Yang. The layers of approaching curves are forever engraved in a parody of celebration.
It is useful to note that the idea behind abstract art is that it enables the artist to define the composition in terms of dimensionality, rather than weight.
The embellished ground belies the essential difference between pattern and texture.
The artist employs a limited canvas to shape the colours, which thus float free. Of a sudden, we see the leading centralism for strength curve back and forth, suggesting inconstancy. Contrasts of salt and pepper emphasise the foreground of this image. The writhing curves are intertwined in a parody of celebration. An important part of this work is the strongly twisted upward flying components contrasting strongly with the arena of contrasting tone and hue so clearly visible.
``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]