Two things strike me about painter Ben Aronson’s work, geometry and edges.
The geometry is often prominent, as in his cityscapes and interiors, arrayed not only in the patterns of their own geometric intersections, but in the slashing diagonals of shafts of light and dark, punctuated with floating solids of sun and shadow.
Aronson’s edges, on the other hand, are often subdued, softened and blurred so they are simultaneously clear and indefinite. You know without question that two shapes meet with an edge, you just don’t quite know where. This is most evident in his figurative work; though even here he places his figures within geometrically complex interiors.
These elements combine with even more subtlety in is contemplative still life subjects, often simple arrangements of flowers in a glass, that are little marvels of light, shadow, shapes and playful edges.
Aronson was born into an artistic family, both of his parents active as painters, and his father a well known teacher, as well as inheriting a lineage from his great grandmother who was a painter and illustrator.
In addition to his family influence, and his study with painters like Phillip Guston and James Weeks at Boston University, Aronson takes inspiration from artists both traditional and modernist. His work is represented in a number of museums and private collections.
[Via Painting Perceptions]
