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τρίπτυχον “triptukhon”

aim

“This fastidiously astute commitment to multifocal interpretations of the Iceman’s performances is physiognomically intense. The abstract functions to satirise and fantasise and empathise. Aim’s stylistic vocabulary is difficult to pigeon-hole. It incorporates the surreal,the pop,the postmodern but really something indefinable.It certainly perpetually rejects authority whilst apreciating order.Is it a quest to correct social malaise, a reference to allegorical debased sociological archetypes? The slightly cartoon element is belied by the quasi religious overtones of the triptych format. A playful populism combines with the rarefied without caasing any sense of the grotesque. Aim reactivates and recontextualises in a sort of sincere trickster mode. The value of aim’s “Primitice” oeuvre results from the  overt gestures of the Iceman and a sense of modest self-denigration in spite of a certain ‘noblesse’. There is a sense of cultural heritage inspite of the demise of tradition. The pictures clearly resonate  with the modern viewer who can sense specific experiences within this unambiguous portrayal of a ‘high’ form of peformance art. I,at first, felt bewildered but then settled down to absorb these three images in a merged state of ecstasy.[Kafe Smictiric-art critic]

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“aim brings a sense of alarm to the figure of the Iceman but the block-like feet belie a serious sense of threat. The Iceman looms in a disquieting manner that imposes an effect on the Block. Mouth agape, nose forward, the expressions are suggestive of a desire to change position but beckons us to look more carefully at the activity. The magnetic qualities of aim’s painting demand attention and then divert that attention in a completely different direction. If the Iceman appears to gawk, the image suddenly changes from discomfort to a perpetual oscillation between seduction and a qualified repulsion. Primitice 5 clearly speaks of the dichotomy between the energetic and the passive, the active and the actual, the viewer and the object. I don’t normally drink alcohol but after viewing this extraordinary painting I felt I had to have a drink. Fortunately the bar was open early, so I downed a quick double whisky. When I went back to view Primitce 5, I noticed many new layers of meaning, necessitating a second visit to the bar. I meditated on the significance of the yellow duck, a regular motif  and also the implications of the larger Block behind the Iceman who is seemingly oblivious of it. I had one more drink,cancelled the other new gallery I was due to visit and got a taxi home immediately. I fell asleep having strangely reassuring dreams.[Kafe Smictiric-art critic]

aim

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The Iceman in aim’s painting,Primitice 2,shares a stage with a medley of recognisable and un-recognisable goods. The hammer perhaps codifies the contemporaneity of the Iceman’s performance art. In the Primitice series, the Iceman is framed against unspecified but intriguing backgrounds. Their ethnographic corollaries point to diverse traditions. There is a sense of threat but also underlying safety. Is there in fact a feeling of trust between the Iceman and his Block? Value based institutions are challenged  and we are invited to witness the Iceman eradicating the constancy of abject impurity and chaos. There is no implied regulation to the melting process or implicit management of extended control. However, the drainage system does seem to be functioning!Is something violent festering under the surface? No, the iceman is clearly ultimately a kindly figure and aim creates a sense of dream around the Block, with the strange floating  meteor-like face. The commingling of an imagined audience with the performance processes invite a spectacular act of imagination. I had to have a strong expresso in the gallery’s café, which fortunately was staying open late the evening I visited the exhibition. [Kafe Smictiric-art critic]

aim

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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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                   a rare glimpse of “aim” himself!-in the doorway to his studio

” The artist ‘aim’ once again surprises with the new Primitice series of paintings. Aim is glimpsed above with Primitice1 and a version of Primitice4.Aim lands on the unspoken dynamics that refer to the individuals participation in the native group. This allows for a seemingly fluid visual experience of the place in society of a performance artist such as the Iceman. Placed in spaces of ambiguity, there is a flirtation with legibility and theatricality. The grounds of such a recognisable context are then whisked away baring a primitive basis to the beings portrayed. [Kafe Smictiric-art critic.]