Aaron April’s oil and acrylic paintings underwent a profound transformation following his emigration to Israel in 1972. While his earlier Soviet works included powerful realist pieces like “Execution” (1961), which bravely confronted the realities of the Soviet Gulag and established him as a courageous painter, his later “Israeli” period exploded with multicolored, energetic, and passionate canvases.
A central tenet of his artistic vision in Israel was his intense engagement with light, particularly the unique and often “cruel” light of Jerusalem. April famously declared his goal was to “win this contest with the light,” tirelessly striving to capture or embody this elusive illumination within his canvases. His palette from this era is described as vigorous and comprehensive, capable of conveying a “violence of color” where hues seemingly “fight each other or embrace each other,” utterly captivating the viewer.
April’s oil paintings are often multi-meaningful, multifaceted, and fantastical, actively inviting the viewer to discover layers of interpretation. His style frequently blends figurative and abstract elements, with images often emerging from seemingly chaotic or pulsating colorful strokes. A key concept in his later work is the use of “memory stains”—brush strokes that function as self-contained vessels of light and space, mirroring the fragmented nature of memory. He reinterpreted Symbolism, emphasizing that meaning arises from the interplay of these material “signifiers” rather than from pre-existing metaphysical ideas. His canvases also aimed to combine the static aspects of painting with dynamic movement, offering the viewer a unique sense of “being” within a flowing, concentrated moment in time. Biblical themes are notably prominent, viewed not merely as historical stories but as part of the “very fabric of today’s life” and deeply connected to ancestral memory in Jerusalem, which he considered his spiritual motherland.
Within the expansive breadth of Aaron April’s artistic explorations, the depiction of the human figure, including instances of nudity, consistently appears as a significant element. While not a standalone primary theme, its presence is deeply interwoven with his mastery of light and color, his exploration of memory, and his profound engagement with biblical narratives.
April’s canvases often feature the human form, both nude and semi-nude. Felix Roziner, commenting on April’s works from Jerusalem, specifically highlights “lovely feminine forms” and the intense light that illuminates “naked bodies of lovers,” attesting to the deliberate inclusion of the nude in his art.
Biblical narratives, which April viewed as the “very fabric of today’s life,” frequently provided themes that inherently involve or imply nudity. His depictions of stories such as those related to Lot’s daughters or Potiphar often incorporate elements of the nude, serving to reinterpret ancient tales through a contemporary lens. Furthermore, reviewers note the presence of “erotic scenes” within his “memory stains,” suggesting that these figures served to explore aspects of collective and personal memory, potentially embodying an “erotic force” as a universal driver of change and becoming.
Fundamentally leaning towards figurative art, the human figure was a regular and vital component of April’s compositions. His artistic practice included working extensively with models, a common approach that involves studies of the human form, both clothed and nude.
In his later works, particularly those created in Israel, April’s unique style is defined by a dynamic interaction with intense light and a powerful, vibrant use of color. His rendering of the figure, including nudes, directly reflects this approach. Forms often emerge from or dissolve into layers of paint and color, suggested through the interplay of light and hue rather than solely through precise lines. This technique underscores the emotional and symbolic depth he aimed to convey, with the intense Israeli light actively interacting with and illuminating these figures. The very “battle” between painterly components – including forms and colors – contributes to the viewer’s perception.
Ultimately, in Aaron April’s art, the depiction of the nude transcends simple representation. It serves as a potent means to explore profound themes of love, memory, biblical narratives, and spirituality, seamlessly integrating the human form within his signature expressive style and his intense, transformative engagement with color and light.
