Posted by & filed under Uncategorized.

“I have heard it reliably rumoured [if a rumour can ever be reliable] that by the end of June, a long video about aim’s work is due to be released by ‘aim’ himself.  ‘aim’ will no doubt make clear his “aims” in a way that I can never achieve myself. I cannot wait til it is released.”[Kafe Smictiric-art critic]

aim

Posted by & filed under Uncategorized.

Primitice9                      Primitice8

aimaim

” ‘aim’ figure’s of The Iceman in action with his Block contrast. One is arched and surprised, the other is secure and poised. Yet both have a dynamism that points to the original live performances. I describe  ‘aim’ as a closet formalist. There is an alignment with the platforms that suggest a bygone era. These diverse forms imply an investigation of home décor. Social and historical references are clear in both paintings.The nuanced levels, almost stairs, in Primitice9 remind me of Brancusi. But there is also a reverential stasis reminiscent of a high Renaissance painting. In Primitice8 there is a  whimsical reduction of abstraction with the curving, carefully streaked brush strokes that might seem slapdash if it wasn’t for the rococco effects. ‘aim’ is both ornamental and theatrical in style. His decorative approach combines acid asymmetry, scrolling conquering curves, blue & green gilding equivalents. His pure whites and puerile pastel colours create  sculpted moulds. ‘aim’s trompe l’oeil near-frescoes spout forth illusions of surprise, motion and Druid-like drama. In the gallery the 3d effect is much more intrusive. The overt arterial routes round the painting are almost like casting sprues. Are they both bravado comments on consumerist obsessions? In both paintings, the arching and arcing rows of controlled pigments, the crusty over-reaching surfaces cause the cultural associations to be elegantly elongated. There is a coalescence of animalistic endeavour with innocent fairy-tales. ‘aim’ sidesteps the expectations of the public and revamps his unique style with a traditional value that underscores his own rococo roughage, Numerous minor variations tease the viewer who wants to enter the picture and climb those icy stairs.The swirls splay over the panes, causing the formations of dense factures skewered by twisting yet levelling lines-these two paintings define the solid  symmetrical  symbiosis that is aim’s art, based on the Performance Art of “The iceman”.[Kafe Smictiric-art critic]

Posted by & filed under Uncategorized.

“Sensory overload is not an issue in aim’s painting Primitice10. I don’t know if the snail(?) is a permanent or passing feature of the picture ie alive or dead. With furtive Duchampian finesse, this tabula rasa raises the ridiculous on to a pedestrian pedestal. This painting is not a comment on consumerist culture,it’s a hybrid expression of the hyper-awareness of cultural specifity. The seeming directness and simplicity of the image fascinates .One viewer who actually was at one of  The Iceman’s live Blocks gasped- ‘That IS The Iceman!’ This was surprising given the well-documented un-orchestrated chaos that often accompanied The Iceman’s live  Block performances, which is here unrecognised  through the calmness of the near-holy figure.”[Kafe Smictiric-art critic]

aim

Posted by & filed under Uncategorized.

“Humorous or banal? This assorted bundle of energies fluctuates between intellectual irony and subtle observation. The elevation of emphatic imperfect mischievous ideas into the painted images camouflage the infantile motifs. The evening class amateurishness is heightened to highlight the inherent flaws in technique. It is profane in its lack of functionality. It is the defined musealisation of the trivial frozen into the weighty. The dual if not triple refractions interfere with the normal routines of perception. Is it a game of sensory visual signals impressed and expanded by extreme putative dullness? This dancing, representational shape of the Iceman and his Block leads to a fleeting sense of alienation that existentially, through the swirling circles,  throw true light on the Iceman’s unique brand of performance art.”Kafe Smictiric[art critic]

aimaim

Posted by & filed under Uncategorized.

“In ‘Primitice 12’ aim again asks questions. Could that be a key The Iceman is holding? Why so many Blocks[apparently he did sometimes melt more than on ice-block at once]. ‘aim’ produces a heterogeneous picture here. The contradictions are refuted-the blocks are both undersized and larger than life. They are solid yet fragile. They are malleabale, yet unforgiving. The determination of form, mass, materiality and space leads to a presentation of the Block as Block. Process is always implicit in aim’s painting of The Iceman in action. Of course audiences were witnessing the very process of The Iceman melting a Block that would melt at a different speed if The Iceman did not intervene. Is aim making a caustic comment on the artist’s vision?Is the Block referenced as commodity, but also an impossible ‘collector’s’ piece? It’s vanitas is symbolised eloquently by the spread of icy material. This is a painting that almost seems vapid but for the manifold muscular contractions-casual and poetic, deliberate and mundane-make your choice!. An overheated art world market echoes the crisis of planetary Climate Change. aim seems to say to society. ‘where is your society?’ [Kafe Smictiric-art critic]

aim