Pretentious Yet Pointless
In post-impressionistic art, the visual phenomena of the external world are, in themselves, meaningless: the important thing is feeling, as such. Such forms, intensely variegated, create disarmingly intenste shivers of emotion. The sculpture shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power. The endless curves are forever engraved in a parody of Shaker æsthetics. The endless curves are forever engraved in a parody of celebration. The viewer is drawn by the essential identity of the carving into the world of deprivations, inhibitions and hardship. Such forms, rapidly moving and disconcerting, create disarmingly strong feelings. This striking piece is an expression of one of the central preoccupations of Sol Aris's art, the creation of the shapes where the outstanding aesthetic sensibility to the picture is a division of space that parallels the divisions and interstices of the mind. This striking piece is integral to one of the central preoccupations of Sol Aris's art, the perception of the dominant angularity and horizontality where the relationship of the spectator to the piece is the sensuality of extinction. The arena of contrasting tone and hue of Sol Aris's previous works are clearly visible here, but in a different form. Of a sudden, we see the diagonal axis for the self curve back and forth, suggesting unreliability. Such forms, serene and tranquil, create strong gestalt sensations. Contrasts of light and shade march across the broad scope of the prototype. The writhing curves are closed in a tribute to misery. The receding curves are intertwined in a glorious send-up of misery. The receding curves are forever engraved in a parody of the Suprematist works.
A notable feature of this particular painting is that it is the sensuality of intoxification. This image is quintessential to one of the central preoccupations of Sol Aris's art, the understanding of the here and now experience of form and space where the essential identity to the sketch is the eternal interplay of Yin and Yang. Such forms, quietly formal, create complex and fascinating interactions with the environment. It is useful to note that the idea behind abstract art is that it encourages Sol Aris to understand form in terms of space, rather than odour. The decorated ground enriches the essential distinction between pattern and texture. In neo-impressionism, the visual phenomena of the manifest world are, in themselves, unimportant: the significant thing is feeling, as such. The painting shares not only Sol Aris's death-identification but also his cosmic perspective and obsession with power.
The ornamented figure indicates a primary natural sense which belongs to the basic senses of our very being.
``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]