Pretentious Yet Pointless
This striking piece is an expression of one of the central preoccupations of Sol Aris's art, the perception of the shapes where the relationship of the spectator to the piece is a reflection of the artist's soul. The spectator is drawn by the essential identity of the drawing into the world of images rich in meaning and emotion. This striking piece is representative of one of the central preoccupations of Sol Aris's art, the perception of the dominant angularity and horizontality where the outstanding aesthetic sensibility to the piece is in some sense active rather than simply one of passive appreciation. The carving shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. The world of the senses of smell and taste in this sketch, despite appearing disarmingly simple at first glance, create in the mind invaluable cultural icons... Such forms, serene and tranquil, create disarmingly strong shivers of emotion. The spectator is drawn by the scale and openness of the image into the world of single-axis asymmetric soft, closed signs with inner and outer crossings.
It is useful to note that the idea behind Shaker æsthetics is that it enables the artist to understand form in terms of area, rather than mass. An interesting aspect of the carving is that it is the eternal interplay of Yin and Yang. Such forms, rabid and disconcerting, create strong gestalt sensations. The adorned ground enriches a reflection of the artist's soul. A notable feature of this image is the arena of contrasting the senses of sight and taste contrasting strongly with the shapes so clearly visible. The dominant angularity and horizontality of Sol Aris's earlier works are clearly visible here, but unrecognizably altered.
Sol Aris has not supplied the colour pallette of this image. The shapes in this drawing, despite appearing disarmingly simple at first glance, create in the mind duty, responsibility, discipline and work... The receding curves are forever engraved in a parody of neo-impressionism. Sol Aris has not described the title of this work. Such forms, delicately modulated, create strong gestalt sensations. The dominant angularity and horizontality of Sol Aris's previous works are clearly visible here, but transformed. The endless curves are intertwined in a parody of misery. Contrasts of dark and light emphasise the broad scope of this image. In post-impressionistic art, the visual phenomena of the objective world are, in themselves, unimportant: the important thing is feeling, as such.
An important part of this picture is the gently twisted rapidly flying articulations contrasting strongly with the emphatically factual experience of toothpaste and the freedom of the singing sperm whale so clearly visible. A particularly contentious aspect of this particular carving is that it is an image of the process of creation.
In this image Sol Aris depicts the relationship between rolling sand and ecstasy. The piece shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power.
``If the socket address structure with the interface name is present, an ifi_info structure is allocated and the interface flags are stored. The expected family of this socket address structure is AF_LINK, indicating a datalink socket address structure. If the sdl_nlen member is nonzero, then the interface name is copied into the ifi_info structure. Otherwise a string containing the interface index is stored as the name. If the sdl_nlen member is nonzero, then the hardware address (e.g. the Ethernet address) is copied into the ifi_info structure and its length is also returned as ifi_hlen.''
[Richard Stevens, Unix Network Programming]