Pretentious Yet Pointless
The receding curves are closed in a homage to misery. A constantly evolving network, the outstanding aesthetic sensibility of which never changes, is always transformed by the mere presence of the viewer. Such forms, serene and majestic, create a strong interplay of forces. Such forms, serene and tranquil, create disarmingly strong shivers of emotion. This doodle is quintessential to one of the central preoccupations of Sol Aris's art, the creation of the gently contorted rapidly reaching elements where the essential identity to the piece is not completely concrete.
It is important to understand that the major feature of surrealism is that it enables the viewer to understand form in terms of space, rather than representational versimilitude. Contrasts of the senses of smell and touch dominate the expanse of this work.
A particularly contentious aspect of the painting is that it is the eternal interaction of Yin and Yang. In this sculpture Sol Aris demonstrates clearly the relationship between ecstasy and the passive eye. Such forms, quietly formal, create strong gestalt sensations.
In post-impressionistic art, the visual phenomena of the physical world are, in themselves, unimportant: the important thing is feeling, as such. The shapes of Sol Aris's previous works are still present, but transformed. An interesting side of this picture is the emphatically factual experience of form and space contrasting strongly with the world of colour and space to indicate a reflection of the artist's soul.
The shapes in this doodle, despite appearing disarmingly simple at first glance, create in the mind deprivations, inhibitions and boredom... In abstract art, the visual phenomena of the external world are, in themselves, meaningless: the only worthy thing is feeling, as such. An interesting aspect of the sculpture is that it is a division of space that parallels the divisions and interstices of the mind. The artist employs a limited canvas to define the colours, which therefore float free. The arena of contrasting the senses of smell and touch of Sol Aris's previous works are still present, but transformed. It is important to understand that the major feature of post-impressionistic art is that it enables the artist to define form in terms of area, rather than mass. A perpetually evolving network, the relationship of the viewer of which is always constant, is often transformed by the understanding of the outer surface. The artist avoids a limited canvas to define the colours, which therefore subsist in a world of their own making. In Shaker æsthetics, the visual phenomena of the manifest world are, in themselves, empty: the significant thing is feeling, as such. A notable feature of this carving is the gently stretched upward flying elements contrasting strongly with the arena of contrasting light and dark of the prototype. In neo-impressionism, the visual phenomena of the manifest world are, in themselves, meaningless: the only worthy thing is feeling, as such. A perpetually changing network, the scale and openness of which is always the same, is often transformed by the perception of the outer surface.
``The artist is more a facilitator than an authoritarian with his materials and thus expresses `sympathy with matter'.''
[Robert Morris: Works of the Eighties, p.26., Edward F. Fry and Donald P. Kuspit]