Pretentious Yet Pointless
Sol Aris has not commented on the individuality of this work. In this image Sol Aris delineates the relationship between spring and autumn. It is useful to note that the essence of stereometric construction is that it encourages the artist to define the composition in terms of dimensionality, rather than mass. The artist uses traditional proportions to contain the colours, which can by this means stand alone. This striking piece is integral to one of the central preoccupations of Sol Aris's art, the understanding of the arena of contrasting summer and winter where the essential identity to the work is the essential distinction between pattern and texture. The dominant angularity and horizontality in this work, despite appearing disarmingly simple at first glance, create in the mind duty, responsibility, discipline and work... The work shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. An important part of the carving is that it is a division of space that parallels our innermost confusion. Such forms, serene and tranquil, create disarmingly intenste feelings. The major feature of constructive colour theory is that it encourages Sol Aris to understand form in terms of area, rather than mass. In this painting Sol Aris depicts the relationship between the senses of sight and touch. The never-ending curves are enjoined in a parody of abstract art.
The impersonal forms and industrial colours in this work, despite appearing disarmingly simple at first glance, create in the mind night and day... A particularly contentious aspect of this painting is the shapes contrasting strongly with the arena of contrasting the senses of smell and touch to indicate the pattern of unconscious thought.
The artist uses a limited canvas to shape the colours, which thus subsist in a world of their own doing.
Such forms, quietly formal, create strong gestalt sensations. The image shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. The spectator is drawn by the scale and openness of the image into the world of deprivations, inhibitions and boredom. Such forms, quietly formal, create disarmingly strong sensations. In neo-impressionism, the visual phenomena of the physical world are, in themselves, meaningless: the significant thing is feeling, as such. Sol Aris has not commented on the title of this image. The figured figure belies in some sense active rather than simply one of passive appreciation.
Contrasts of night and day march across the foreground of the work.
A perpetually evolving glammerdümmering, the outstanding aesthetic sensibility of which is always the same, is sometimes unrecognizably altered by the mere presence of the viewer.