In this new serices,a suite of vital paintings containing the Iceman and his Block in a collective harmony examine rituals that we only begin to understand.Portraits populated by Ice-Blocks cheekily remind one of the performed inclusivity of the Iceman’s live performance. The scholastic material of the painter’s childhood resurfaces.The recurrent cast of different Icemen who are all actually the same and real Iceman appear and seem to disappear,then re-appear in dynamic performance poses in multiple formations and compositions.Within the confines of these works,the Blocks reach out to the future.The faces don’t so much as convey emotional states as define the Block-melting process in its entirety. The iridescent use of aim’s smudge technique imbue the movement of the Iceman’s body ,in spite of apparent stasis,an extreme dynamism of gesticulation and psychic vigour. Painted in a seemingly intentionally rough and almost messy manner, the ‘Primitice’ paintings actually contain an extraordinarily deft precision. These embodiments of disembodiments tacitly point to multiple meanngs that make the spectator almost physically vibrate. Are the outstretched arms of the Iceman’s figure decrying the whole event or is there a secret approval and approbation of the whole Block philosophy?Is the support system for the Block oppressive or helpful? Do the desperate attempts of the Iceman to engage with his Block actually point to a near holy entwinement or is the Iceman simply an actual breakfast guest at a sea-side hotel? Is that a festive balloon or an egg of gargantuan creative potential?I,for one,stood infront of this painting for a long time and felt a changed man when I eventually and reluctantly walked out of the viewing gallery.[Kafe Smictiric-art critic]
aim
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