Dark Silence In Suburbia

Saturday, September 14, 2013

Aron Wiesenfeld

Greenhouse, 2012. Oil on canvas, 33 x 30.5".

Delayed, 2012. Oil on canvas, 31 x 40".

Dropout, 2012. Oil on canvas, 33 x 24.4".

Heretic, 2012. Oil on canvas, 32 x 43.4".

The Tree, 2012. Oil on canvas, 47 x 35".

The Garden, 2012. Oil on canvas, 36 x 30".

The Settlers, 2012. Oil on canvas, 24.5 x 19.5".

The Grove, 2012. Oil on canvas, 14 x 12.5".

Train, 2012. Oil on canvas, 20 x 30".

The Source, 2012. Oil on canvas, 50 x 40".

Winter Cabin, 2011. Oil on canvas, 30 x 41".

The Well, 2011. Oil on canvas, 65 x 87".

The Wedding Party, 2011. Oil on canvas, 70 x 95".

Guest, 2011. Oil on canvas, 15 x 18.5".

Scout, 2010. Oil on canvas, 11 x 11".

Quinceañera, 2008. Oil on canvas, 20 x 16".

Flood, 2009. Oil on canvas, 24 x 24".

Ruth, 2008. Oil on canvas, 23 x 24".

Early, 2008. Oil on canvas, 12 x 10".

Train Tunnel, 2009. Oil on canvas, 30 x 32".

Girl With Bike, 2003. Oil on canvas, 48 x 60".

Hallway, 2000. Oil on panel, 55 x 48".

Northwest, 2007. Oil on canvas, 48 x 60".

Runoff, 2011. Charcoal on paper, 16.5 x 14".

Tunnel, 2008. Charcoal on paper, 16.5 x 14".

Drain Pipe, 2010. Charcoal on paper, 14 x 11".

Thicket, 2009. Charcoal on paper, 19.5 x 12.5".

Leigh, 2007. Charcoal on paper, 15.5 x 23.5".

Rain, 2006. Charcoal on paper, 50 x 38".

David, 2005. Charcoal on paper, 50 x 38".

The Remains, 2011. Charcoal on paper, 10.5 x 15".

The Lesson, 2007. Charcoal on paper, 30 x 50".

Aron Wiesenfeld (Washington D.C., 1972) is a portrait painter from the US, who builds further on the long existing tradition of portraiture. However, the estranging and challenging character, which his portraits offer, make his work immediately recognizable and enable the young artist to be called progressive in the light of history. 

Wiesenfeld never works with models, but starts with a moment of inspiration which can come forth out of basically anything. Everyday, but unexpected moments which catch his eye can be the start of an art work. With such a work as beginning, the image develops during the working process. This is why Wiesenfeld rather states that his work is developing itself, than to talk about himself as a creator. Significant in this process is that he empathizes with the figure in front of him. Compassion and empathy are the most important aspects which he wants his works to radiate. These feelings are often visualized by representing the person in an isolated situation. Also the facial expressions are crucial in how the viewer relates to the depicted figure. 

Besides oil paint, Wiesenfeld also often uses charcoal. With this material he approaches the atmosphere of old black and white photography, which furthermore heightens the sought after effect of empathy. Still, he feels that the figures seem more lively when depicted in oil paint. Therefore he will focus on the translation of the atmosphere of charcoal works into oil paint on canvas.


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