Kafe Smictiric looks faimward to a raimoured praimduction of a vaimdeo of ‘aim’ by ‘aim’ explaiming aim’s work in graimter daimtail.

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“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]

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Kafe Smictiric[art critic] caimpares aim’s ‘Primitice8’ with aim’s ‘Primitice9’

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Primitice9                      Primitice8

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” ‘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 Social and historical references are clear in both paintings.The nuanced levels, almost stairs, in Primitice9 remind me of Brancusi.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]