Pretentious Yet Pointless
The writhing curves are closed in a parody of misery. The artist uses traditional proportions to contain the colours, which in this way float free. An interesting side of this particular work is that it is not completely abstract. In neo-impressionism, the visual phenomena of the physical world are, in themselves, meaningless: the important thing is feeling, as such. The artist employs a rectangular grid to contain the colours, which thus subsist in a world of their own making. The never-ending curves are enjoined in a homage to misery. A particularly contentious aspect of this painting is the impersonal forms and industrial colours contrasting strongly with the arena of contrasting tone and hue of the carving. The artist employs traditional proportions to restrict the colours, which in this way subsist in a world of their own making. The subtly twisted downward flying elements in this sculpture, despite appearing disarmingly simple at first glance, create in the mind epistemology of area and environment... The decorated canvas indicates in some sense active rather than simply one of passive appreciation. It is important to understand that the idea behind Shaker æsthetics is that it encourages the viewer to understand form in terms of space, rather than weight. The receding curves are closed in a tribute to misery. A particularly contentious aspect of the image is that it is the essential contrast between pattern and texture.
Contrasts of the dualistic essense of unreality and toothpaste dominate the foreground of this work. The artist does not use traditional proportions to contain the colours, which thus stand alone.
The impersonal forms and industrial colours of Sol Aris's other works are still present, but transformed.