Aaron April’s watercolors are celebrated for their remarkable depth and luminosity, frequently featured in exhibitions alongside his commanding oil paintings. Defying the conventional notion that watercolors must be executed quickly, April often dedicated significant time to these works—sometimes even more than to his oils—allowing for an extraordinary richness and complexity. His status as a significant watercolorist was powerfully affirmed by his notable 2002 exhibition at the Moscow Museum of Modern Art.
Within this versatile medium, April explored an extensive range of subjects, including profound spiritual themes, evocative landscapes, and intricate allegorical compositions. He was particularly lauded for his seamless ability to blend figurative and abstract elements with precise tact, demonstrating a nuanced mastery unique to his vision. Critics consistently praise his exceptional skill in rendering light and subtle color nuances, observing how his watercolors convey an “internal light carried by the pigment itself” and the mesmerizing “melting desert colors.” This exquisite effect, achieved in watercolor, was often considered more refined than oil for capturing the delicate, almost ethereal luminosity of the southern Israeli landscape. Masterpieces like “On the Eve of Shabbat. Converging on the Wailing Wall” (1993) stand as prime examples, showcasing his “amazing precision” in depicting both architectural structures and intricate figures with breathtaking clarity.
Aaron April’s art transcends mere representation, inviting viewers into a rich world of allegory and symbolism. His paintings are celebrated for their profound, multifaceted nature, where colors and forms intertwine to create numerous elusive “faces” that encourage individual interpretation and even new titles from the observer. A defining characteristic of his work is its inherent sense of mystery and soul, actively engaging viewers and compelling them to “co-participate” in uncovering its intricate layers. Critics consistently describe his creations as a “chain of mysteries,” and April himself deliberately “leaves space for mystery, for enigma.”
Deeply influenced by the Symbolist movement, particularly Mikhail Vrubel, April reimagined these ideas. Rather than pointing to separate metaphysical entities, he focused on the interplay of the painting’s material elements – the signifiers – as the direct means to achieve meaning. In this framework, the material elements act as a catalyst for memory, and the accumulation of memory becomes the path to attaining consciousness, which he viewed as an “effect” arising from this very process. Consequently, his art can be experienced as a series of riddles or a complex tapestry that demands active participation from the viewer in constructing its meaning.
Within this rich symbolic language, April frequently brings the battle between good and evil to the forefront, often expressed through the dynamic interplay of color. His canvases are populated with strange, elusive images and figures – such as animals linked to childhood fears – that emerge organically from the vibrant layers of paint. His work also explores the universal concept of struggle or strife as an intrinsic aspect of change and becoming, potentially even embodying an erotic force. This depth of inquiry often lends his paintings a speculative nature, encouraging contemplation long after the initial viewing.
