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| Aaron Kent | |
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Aaron Kent (AK-47) I was born in Springfield Ohio in June of 1972. I studied commercial art in high school and studied fine art and sculpture at the Art Academy of Cincinnati. I then began work at Casting Arts and Technology in Cincinnati, where I studied bronze casting and metal fabrication for the next 7 years. From that I've continued with my artwork and i'm constantly struggling to find show and collectors to support my work. |
| 关于此艺术家 | |
Much of my artwork confronts political and social issues and incorporates modern media images to challenge the viewer into thinking critically about the U.S. government and the values of the American people. My work often expressly reminds the viewer of the fundamental American freedom of speech, and thus celebrates America, while at the same time criticizing various elements of modern American life. My work is not a form of political protest; rather, it attempts to use visual images to challenge and provoke the viewer into considering serious political and social issues. |
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IN GOD WE TRUST
2007 |
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| This artwork is about the conflict between money and religion. How the two of them where never meant to be together. Now and threw the turn of time they have become one. How the abuse of religion is used for financial gain. How wealth plays a part in your holiness. How people pray for money and make money there God. No religion is safe from money and money corrupts. |
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Sprayed and Betrayed
2000 |
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| War is a highly organized and facilitated process. The media reinforces, and is constant reminder of the triumphs, bloodiness, and losses war induces on the world and society. However, the reality of what happens to soldiers is often overlooked and not publicized until it has become an aftermath. Deformities, unemployment, and the side effects of testing are depicted in the outstretched, mutilated hands of Sprayed and Betrayed. The hands are coordinated with the more recent symbol of war, a gas mask. What is protection, who is protected? The mask symbolizes a memory, a question, a loved one. |
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Don't Touch the Split Second
2003 |
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| The split second between life and death is a fascination of humanity, and interpreted in many different ways. This bronze reinforces this fascination, and also prompts a careful consideration for society's disregard for the seriousness, and power of fire arms. |
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Bones #5
2006 |
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| "Bones" is a series of bronze sculptures reflecting on death and its transformation to a new form of life. The works are based on a human or animal bone, cast repeatedly in bronze and then arranged into a unique sculptural pattern or shape. From a distance, the pieces appear to be an abstract shape unfamiliar to the viewer. The works become intertwined with death and its new creative form as the viewer approaches the work. These pieces were influenced by the artist's visit to the Catacombs of Paris, where the patterns and shapes in the bone displays shifted his focus from death to the beauty and power of the creative process. |
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Bones #4
2006 |
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| "Bones" is a series of bronze sculptures reflecting on death and its transformation to a new form of life. The works are based on a human or animal bone, cast repeatedly in bronze and then arranged into a unique sculptural pattern or shape. From a distance, the pieces appear to be an abstract shape unfamiliar to the viewer. The works become intertwined with death and its new creative form as the viewer approaches the work. These pieces were influenced by the artist's visit to the Catacombs of Paris, where the patterns and shapes in the bone displays shifted his focus from death to the beauty and power of the creative process. |
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Bones #3
2006 |
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| "Bones" is a series of bronze sculptures reflecting on death and its transformation to a new form of life. The works are based on a human or animal bone, cast repeatedly in bronze and then arranged into a unique sculptural pattern or shape. From a distance, the pieces appear to be an abstract shape unfamiliar to the viewer. The works become intertwined with death and its new creative form as the viewer approaches the work. These pieces were influenced by the artist's visit to the Catacombs of Paris, where the patterns and shapes in the bone displays shifted his focus from death to the beauty and power of the creative process. |
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Bloodstains
2003 |
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| My works titled “Bloodstains” are a series of abstract paintings that explore the visual effect of dark stains of color, intended to evoke dried blood or the results of other stain left behind. The dark and arresting visual effect of the colors or corrosion in these pieces is also meant to subtly evoke the political and social contexts in which blood or decayed stains are all too common. |
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Bloodstains
2003 |
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| My works titled “Bloodstains” are a series of abstract paintings that explore the visual effect of dark stains of color, intended to evoke dried blood or the results of other stain left behind. The dark and arresting visual effect of the colors or corrosion in these pieces is also meant to subtly evoke the political and social contexts in which blood or decayed stains are all too common. |
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| 教育程度与个人自传 | |
| Employment/Education 2004-present Suders Art Store, Framing and Restoration 1993-2004 Casting Arts and Technology/Fine Arts Bronze Sculpting 1994-1998 Art Academy of Cincinnati Deleya Contemporary-Fine Arts Gallery Tabliski and Scotts-Fine Arts Gallery Exibitions 2006-Semantics (solo show), Cincinnati. OH 2006-SYN Gallery, Cincinnati, OH 2006-Base, Cincinnati, OH 2006-Red Saw Art–C.A.S.T., New Jersey 2006-Media Bridges (solo show), Cincinnati, OH 2006-Fringe Art Festival, Cincinnati, OH 2003-Gallery M, Cincinnati, OH 2003-Studio 3, Cincinnati, OH 2001-Design Smith Gallery, Cincinnati, OH 2000-Angst, Cincinnati, OH 2000-Delaya Contemporary, Cincinnati, OH Art Representation 2007 – Present Malton Gallery, Cincinnati, OH, www.maltonartgallery.com |
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| 未来的展览 | |
| Malton Gallery | |
| 网站: WWW.AARONKENT.ORG | |
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