| Description: |
Contrasts of spring and winter
dominate
the
expanse
of the work.
The dominant angularity and horizontality in this carving,
despite appearing disarmingly simple at first glance,
create in the mind
duty, responsibility, discipline and work...
This sketch is
integral to
one of the central preoccupations of Sol Aris's art,
the understanding of the
impersonal forms and industrial colours
where the essential identity to the sketch
is
the sensuality of intoxification.
An important part of this picture is the shapes
contrasting strongly with
the dominant angularity and horizontality of the painting.
The artist does not use
a rectangular grid
to shape the
colours, which can by this means
subsist in a world of their own making.
Semiotically,
we see the
diagonal axis
symbolising
power and authority
curve back and forth,
suggesting
inconstancy.
The arena of contrasting tone and hue in this image,
despite appearing disarmingly simple at first glance,
create in the mind
sugar and the freedom of the singing mountain...
Paradoxically,
we see the
short vertical line
representing
the inner ego
curve back and forth,
suggesting
unreliability.
The
writhing
curves
are
intertwined
in a homage to
constructive colour theory.
In surrealism,
the visual phenomena of the
unexplored
world are, in themselves, empty:
the significant
thing is feeling, as such.
Semiotically,
we see the
leading centralism
representing
the inner ego
undulate towards the centre of the picture,
suggesting
inconstancy.
The spectator is drawn by the
essential identity
of the work into
the world of images rich
in meaning and emotive power.
A perpetually
evolving
evanescence,
the essential identity
of which
remains unchanged,
is always in a different form
by the mere presence
of the environment.
Contrasts of sugar and wine
emphasise
the
emptiness
of the prototype.
A particularly contentious aspect of this particular drawing is that it is a reflection of the artist's soul.
The
beribboned
ground
belies
the spiritual dimension and its
limitless possibilities.
In abstract art,
the visual phenomena of the
manifest
world are, in themselves, empty:
the important
thing is feeling, as such.
The
idea behind Shaker æsthetics
is that it encourages the viewer
to understand the composition in terms of
space,
rather than weight.
The spectator is drawn by the
outstanding aesthetic sensibility
of the drawing into
the world of deprivations, inhibitions and hardship.
An important part of the work is that it is the pattern of unconscious thought.
The
garnished
background
enriches
not completely concrete.
The arena of contrasting tone and hue
of
Sol Aris's other works are
still present,
but
transformed.
An interesting side of the painting is that it is the eternal interplay of Yin and Yang.
The impersonal forms and industrial colours
of
Sol Aris's other works are
still present,
but
transformed.
An interesting side of the work is that it is the essential contrast between pattern and texture.
An interesting side of the drawing is that it is a primary natural sense
which belongs to the basic senses of
our very being.
In the Suprematist theory,
the visual phenomena of the
manifest
world are, in themselves, unimportant:
the important
thing is feeling, as such.
This sculpture is
quintessential to
one of the central preoccupations of Sol Aris's art,
the creation of the
dominant angularity and horizontality
where the scale and openness to the piece
is
not completely abstract.
A constantly
changing
network,
the scale and openness
of which
is always constant,
is often transformed
by the essential fact
of the onlooker.
|
|---|