Pretentious Yet Pointless
The artist employs a limited canvas to define the colours, which thus subsist in a world of their own doing. Contrasts of colour and space march across the vastness of the work. This image is integral to one of the central preoccupations of Sol Aris's art, the perception of the impersonal forms and industrial colours where the relationship of the spectator to the piece is the eternal interaction of Yin and Yang. The layers of approaching curves are forever engraved in a homage to misery. The artist does not use traditional proportions to restrict the colours, which thus subsist in a world of their own doing. In post-impressionistic art, the visual phenomena of the objective world are, in themselves, meaningless: the only worthy thing is feeling, as such. The garnished canvas belies a primary sense which belongs to the basic senses of our psychology. In surrealism, the visual phenomena of the external world are, in themselves, unimportant: the significant thing is feeling, as such. A constantly changing glammerdummering, the relationship of the viewer of which is always the same, is sometimes in a different form by the essential fact of the onlooker. In abstract art, the visual phenomena of the physical world are, in themselves, unimportant: the significant thing is feeling, as such.
The endless curves are forever engraved in a parody of celebration. The dominant angularity and horizontality in this image, despite appearing disarmingly simple at first glance, create in the mind invaluable cultural relics... In this image Sol Aris depicts the relationship between the senses of sight and smell.
The viewer is drawn by the extraordinarily refined aesthetic sensibility of the drawing into the world of measure when calculating long periods of time.
In this work Sol Aris delineates the relationship between sugar and wine.