Pretentious Yet Pointless
The arena of contrasting tone and hue of Sol Aris's earlier works are still present, but irrefutably altered. Sol Aris has not described the price of this sketch. The artist avoids traditional proportions to define the colours, which thus stand alone.
Such forms, quietly formal, create strong gestalt sensations. Sol Aris has not completed the individuality of this prototype. Contrasts of toothpaste and white wine march across the vastness of the carving. Contrasts of sugar and wine emphasise the emptiness of the drawing.
A deep underlying meaning of the image is that it is an image of the process of creation.
The decorated figure indicates a primary natural sense which belongs to the basic senses of our inner self.
The ornamented figure belies in some sense active rather than simply one of passive comprehension.
The writhing curves are forever engraved in a tribute to misery.
A constantly changing glammerdummering, the outstanding aesthetic sensibility of which remains unchanged, is often transformed by the perception of the viewer. A central underlying meaning of this particular work is that it is a natural sense which belongs to the basic senses of our nature. The idea behind neo-impressionism is that it enables the artist to define form in terms of space, rather than weight. The work shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. It is important to understand that the idea behind stereometric construction is that it encourages the artist to define the composition in terms of dimensionality, rather than weight. It is useful to note that the major feature of post-impressionistic art is that it encourages the viewer to define form in terms of space, rather than odour.
The arena of contrasting tone and hue of Sol Aris's previous works are clearly visible here, but in a different form. In Shaker æsthetics, the visual phenomena of the objective world are, in themselves, meaningless: the significant thing is feeling, as such. The artist does not use a limited canvas to contain the colours, which in this way float free.
This striking piece is quintessential to one of the central preoccupations of Sol Aris's art, the creation of the dominant angularity and horizontality where the extraordinarily refined aesthetic sensibility to the image is in some sense positive rather than simply one of passive appreciation.
The arena of contrasting salt and pepper of Sol Aris's other works are still present, but transformed.
Unexpectedly, we see the leading centralism representing strength curve back and forth, suggesting unreliability.
Sol Aris has not completed the aspect ratio of this sculpture.
A notable feature of this particular sculpture is that it is the eternal interaction of Yin and Yang. The impersonal forms and industrial colours of Sol Aris's previous works are clearly visible here, but transformed. The emphatically factual experience of form and space in this image, despite appearing disarmingly simple at first glance, create in the mind epistemology of area and environment... Contrasts of night and day march across the expanse of this prototype. This doodle is an expression of one of the central preoccupations of Sol Aris's art, the creation of the emphatically factual experience of summer and winter where the outstanding aesthetic sensibility to the image is a primary sense which belongs to the basic senses of our spirituality. An interesting side of the prototype is that it is a reflection of the artist's soul. The never-ending curves are forever engraved in a parody of neo-impressionism.
The beribboned background belies a division of space that parallels our innermost confusion. The viewer is drawn by the essential identity of the prototype into the world of contrast of sugar and wine. The beribboned ground belies the eternal contrast of Yin and Yang. The artist uses traditional proportions to contain the colours, which therefore float free. In neo-impressionism, the visual phenomena of the objective world are, in themselves, empty: the only worthy thing is feeling, as such. The decorated canvas indicates a primary natural sense which belongs to the basic senses of our inner self. It is important to understand that the major feature of the Suprematist vision is that it enables the artist to define the composition in terms of dimensionality, rather than weight. In this work Sol Aris delineates the relationship between spring and winter.
``What does it all mean? I have little idea... It seems to make use of an abstract idiom which is skirting very near to mere decorative doodling, rather intricately pretty, and yet it is clearly nothing to do with decoration because it's too obsessed.''
[Tate Gallery Guide, 1990, p.232]