What’s the riddle?

A retrospective exhibition by Aaron April in Moscow / Nayilia Roustayeva / 2008

Some hundred oils and water colors are now being exhibited at the Tretiakov Gallery, Krymski Val, Moscow, by Aaron April, Lithuanian born, formerly of Russia, and now living in Jerusalem. These biographic details of the painter’s life are not merely another confirmation of life having been difficult in the Russia of 1970’s, they are necessary to better understand the nuances of his art. His color scheme, compositional construction of his works, his calligraphy, the dynamics and expression of his strokes. All of these are unified by the atmosphere within which the painter lived at the time. Therefore Israel is a key-word in April’s biography and artistic development.

Expecting heir. 2004 Aquarelle

Later, other words of this creational cross-word puzzle began to line up around this key-word:
“I” -Irreality. Fantastic, enigmatic environment, into which the painter immerses the observer. This term, however, is conditional, since the atmosphere pf the painting is unreal for the viewer, while for the artist himself, it is an existing thing. His canvases, like mosaics, shine through all the colors of a rainbow. The strokes are firm and dynamic.

“S” – Sight. His images are readable. The artist models them like a sculptor, They emerge gradually, bit by bit, out of a host of strokes, lines and dabs.

“R” – Riddle. The artist plays riddles with the viewers. A random glimpse at his canvases allows the viewer to appreciate the subtlety of his color scheme, and also his unsurpassable handling of the brush. April’s unique style captures the viewer right at the beginning. We submit to the influence of his dynamics, and only then seek the meaning and the sense. In order to absorb April’s paintings, one has to step far, very far back from the canvas. Only then, the images begin to emerge. His works are a chain of riddles to be guessed by the viewer in order to understand the opus. Having outlined one image, the viewer clings to the possibility of finding the final answer to the riddle.

“A” – Atmosphere. April’s creations live in a space of their own. This atmosphere, first and foremost, is musical – slow and melodious, but each compositions contains culmination and a core of the basic melody, be it a dab of color, or a compositional crossroad. “I” – Intimacy. When left to themselves, the painting and the viewer begin to develop an unique relationship. April’s art is both ornamental and intimate. It is in a sort of silk embroidery that his paintings harmoniously add up to.

“L” – Lyricism. Together with being expressive and dynamic, April’s works are also lyric. The brightness and the wide range of their colors do not prevent the artist (nay, they help him!) from conveying his own attitude and feelings towards the images he creates.

“Miagkii znak” – a unique Russian phonetic sign, unknown in other languages. In April’s art, this voiceless sign not only acquires its sound, but its numerous variations, containing melody, dynamics, mood, deliberation, dynamics, the stormy construction of composition and his unique hand. April fills this mute alphabetical sign with plenty of content and meaning.

The art critics associate April with the painters of 1960’s. But it is impossible to speak of him as a representative of the “grim style”. I may be more appropriate to see April in the company of the USSR painters of the 1960’s such as Minas, Avetisian, Torgul, Narimanbeckov, a glorious group of pioneer artists, whose works are characterized by the fullness and variety of colors. Their palette is colorful and bright, in distinction from the general tendency of that time to paint in bleak colors and depict stern images. There is no doubt that the time left its mark on April’s art. His heroes are rarely in contact with each other. Their emotional restraint and, occasionally, tension are always present one way or another in his works of that period. After all April is a painter of his time.

The ringing and the fullness of the color are a reflection of the country and the world the artist lives in. It is not in vain that many Moscow painters are accused of being miserly with colors and lack of emotion. The grey color of the city does its work. The gloomier is the art of the USSR painters of the1960’s, such as Pavel Nikonov, Tayir Salakhov, and others, the brighter and fuller are the works of the painters of contemporary Russia and other worlds.