Aron Wiesenfeld
David, 2005, charcoal on paper, 50 x 38 inches
Dog, 2007, oil on canvas, 72 x 60 inches
Landfall, 2009, charcoal and sanguine on paper, 50 x 38 ionches
Raincoat, 2009, oil on panel, 21 x 17 inches
Soldier, 2009, oil on canvas, 16 x 12 inches
Ruth, 2008, oil on canvas, 23 x 24 inches
Spaceship, 2008, oil on canvas, 48 x 70 inches
Northwest, 2007, oil on canvas, 48 x 60 inches
Drain Pipe, 2010, charcoal on paper, 14 x 10 inches
Aron Wiesenfeld is quickly emerging as a highly talented allegorical figurative painter.
His work often comprises of figures seemingly caught or lost in some type of overwhelming landscape. He is drawn to empty spaces that may seem lonely, but what they are about is the story that’s going on off the pages in the world outside the canvas. It is that backstory he is interested in.
Aron says about his work
“If something is going on behind the surface, people are drawn to it but don’t know why. They’ve connected to something in it. And that is a constant theme through my work, the ability to paint something to suggest something that isn’t shown.”
Leigh Timmons says, “I would call Aron an “artist’s artist”. He has the courage to pictorially delve into the darker side of the human psyche. Yet there remains a peaceful serenity that mesmerizes the eye.”
On his figures:
“They are refugees, pilgrims, and wanderers, trying to get to the other side of a river that is forever out of reach. I think they are answering a call that is not consciously understandable, but resonates somewhere inside them. It draws them to a place they forgot that they knew about, something like a return to Eden.”
On his landscapes:
“The word I use is ‘North’. This is a place where words fail, they freeze in the throat before they can be spoken. It is still, secret, ancient, unchanging, dark (even in the day), visceral, uncultured, unenlightened, and magical. It is the place where all myth is enacted. Yet there is also the intrusion of modernity: bridges and power lines cut through the organic natural forms. Just like the character’s own natures are subjected to manufactured notions of identity, to me these landscape elements are very metaphorical of their psychological states. It is the in-between quality of the places that appeal to me, which seem appropriate settings for the subject’s personal tragedies and rites of passage.”
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