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The Energetic works are my most recent paintings and represent a divergence from literal realism and the incorporation of expressive gestures. The abstract shapes around the figures are my interpretation of the animal or plant’s energy and attitude. I do not see these things when I view my subjects but translate my impression into shape and color to convey this to my audience. I have chosen to use wild nature as my subjects because I appreciate the stability and purity of their self. A tree does not have an identity crisis, it only is what it is. Animals exist with minds uncluttered by the sort of worries we fabricate. Instead, they simply exist, present in each moment.
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My Cattle series sprung from my enjoyment of watching the field of cattle near my parents home in Missouri. I was inspired to start painting the red and brown breeds of cattle in spring. The contrast of their vibrant red hides against the bright green carpet of spring grass is dramatic but also natural and soothing. I think cattle have a lot of possibilities for interesting close-up compositions because their stocky bone structure creates surprising curves and angles. Still, they create a peaceful and harmonious atmosphere grazing in a field. I seek to convey this tranquility in my paintings of cattle as well as to create movement through composition.
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My Reflections series consists of highly detailed, realistic paintings of cookware, faucets, flushers and other reflective metal objects. I enjoy the study of these objects and how they distort their surroundings in many delightful and humorous ways. My original inspiration for this series was making faces in my mother’s pots as they sat on the stove.
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In 2006, a herd of very special cows is came to America’s Dairyland, joining the 1.2 million dairy cows that already reside throughout the state. The Wisconsin Milk Marketing Board hosted CowParade, the world’s largest public art event in Madison, Wisconsin from June 3, 2006 until October 13, 2006. Here you see the progression of Aaron’s cow which he created for CowParade and Culver's Restaurants. The cow, titled Sundae Best is one of three cows sponsored by Culver’s.
Each artist received a blank, life-sized fiberglass cow as a canvas on which to make their creation. Sundae Best is modeled after a chocolate sundae served at Culver’s. The body of the cow is textured to have the appearance of scooped custard and is topped by whipped cream, marshmallow cream, almonds and a cherry. Aaron constructed his cow using a wide variety of materials ranging from everyday hardware to fine art paints and finishes. The cow had to be made to withstand the Wisconsin weather and interaction with the viewing public for nearly half a year. Sundae Best will be one of 101 painted, costumed and whimsically transformed cows. They will be displayed in the Capitol region of downtown Madison and on the UW-Madison campus. CowParade began in Chicago in 1999 and has since been presented in more than 30 cities around the world. For more about CowParade in Wisconsin, visit: http://wisconsin.cowparade.com
For more about CowParade in the U.S.A. and around the world, visit: www.cowparade.com |
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The central theme of the Presence & Structure series is the joining of spirit and flesh in the human being. Human figures sculpted in clay represent the terrestrial nature of our bodies and the gestures and expressions suggest another dimension of our being. In addition to the clay, these mixed-media works also incorporate oil painting and plexiglas. The three paintings on canvas represent the productive and destructive capacity of human beings.
I have recently revisited thpieces and adapted them by removing the Plexiglas and reformatting the composition. These alterations lead to a new interpretation of the work, but also stregthen their technical success. I
In the diptych of “Expectant Man” and “Expectant Woman” the man and woman late in life, reach out towards the transition into their future and to each other for support. “Birth” is a lush, formative environment. Reminiscent of medical illustrations, “Presence and Structure” presents the physical structure of a body and the awareness of a mind. Last of the tiles, “Departure” is a view of peaceful death in a natural setting.
The painting “The Ease of Destruction” is a commentary on the ability to tear down. “Precarious Balance” is an observation and study of choice. Finally, “Amassing the Elements” is a tribute to creation.
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In the Tool Shed paintings, I explore painting metal objects in a state of decay. I incorporate dead insects, dried plants and other peculiar objects. The subject matter is unified by color palette and the rugged and sharp nature of the objects. While the colors are muted, the surface texture and oddity of these objects creates interest which compensates for the lack of bright color.
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