Pretentious Yet Pointless
In this painting Sol Aris depicts the relationship between spring and autumn.
Sol Aris has not described the title of this image. This picture is an expression of one of the central preoccupations of Sol Aris's art, the understanding of the arena of contrasting colour and space where the scale and openness to the piece is a reflection of the process of creation. A constantly evolving glammerdümmering, the outstanding aesthetic sensibility of which remains unchanged, is always in a different form by the mere presence of the onlooker.
A constantly evolving glammerdummering, the essential identity of which never changes, is often transformed by the mere presence of the onlooker.
A central underlying meaning of this drawing is the strongly stretched downward reaching components contrasting strongly with the shapes to indicate in some sense positive rather than simply one of passive appreciation. A particularly contentious aspect of this picture is the gently twisted upward reaching elements contrasting strongly with the shapes to indicate a reflection of the artist's soul. Semiotically, we see the leading centralism representing the inner ego undulate towards the centre of the sculpture, suggesting inconstancy. Sol Aris has not described the colour pallette of this work.
In stereometric construction, the visual phenomena of the unexplored world are, in themselves, meaningless: the important thing is feeling, as such.
The layers of approaching curves are enjoined in a glorious send-up of celebration. In neo-impressionism, the visual phenomena of the external world are, in themselves, meaningless: the significant thing is feeling, as such. The work shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. Sol Aris has not commented on the aspect ratio of this piece. The decorated figure belies the pattern of unconscious thought.
Contrasts of salt and pepper march across the expanse of this image. A central underlying meaning of the sculpture is that it is a division of space that parallels the divisions and interstices of the mind. In the Suprematist vision, the visual phenomena of the unexplored world are, in themselves, empty: the significant thing is feeling, as such.
Such forms, delicately modulated, create strong gestalt sensations. The artist employs a rectangular grid to define the colours, which thus float free. Contrasts of summer and winter march across the vastness of this doodle. A particularly contentious aspect of this prototype is the world of lager and unshod feet contrasting strongly with the impersonal forms and industrial colours so clearly visible. It is important to understand that the essence of constructive colour theory is that it enables the artist to understand the composition in terms of space, rather than mass. A temporally evolving glammerdummering, the outstanding aesthetic sensibility of which remains unchanged, is always in a different form by the essential fact of the onlooker. A perpetually evolving evanescence, the essential identity of which remains unchanged, is always transformed by the perception of the viewer. An interesting side of this doodle is the here and now experience of the senses of sight and touch contrasting strongly with the shapes so clearly visible. A constantly changing evanescence, the scale and openness of which is always the same, is sometimes transformed by the mere presence of the viewer.
``Paradoxically, this work, which has such an assertive and fascinating physical presence, simultaneously undermines its physical reality by the way in which it reflects, and thus elides or blends with, its surroundings.''
[Tate Gallery Guide, 1990, p.262]