In his exuberantly colored, expressive sculptures, Aaron Curry blurs boundaries—between abstraction and figuration, painting and sculpture, flatness and dimensionality, formalism and conceptualism—demonstrating the richness of the middle ground between opposites. Trained as a painter, he became interested in what he describes as “this idea of trying to pull something out into the real world,” which, ultimately, led him to sculpture. He regards his sculptures as paintings, composing them out of an assortment of flat, whimsically cut pieces of plywood, cardboard, or aluminum, whose forms reference Cubism, Abstract Expressionism, graffiti, cartoons, and the modernist works of Henry Moore and Alexander Calder. Among Curry’s public commissions is Melt to Earth (2013), an installation of 14 sculptures ranging from 4 inches to 19 feet tall, which were scattered about New York’s Lincoln Center Plaza, popping brightly against its muted tones.
In his exuberantly colored, expressive sculptures, Aaron Curry blurs boundaries—between abstraction and figuration, painting and sculpture, flatness and dimensionality, formalism and conceptualism—demonstrating the richness of the middle ground between opposites. Trained as a painter, he became interested in what he describes as “this idea of trying to pull something out into the real world,” which, ultimately, led him to sculpture. He regards his sculptures as paintings, composing them out of an assortment of flat, whimsically cut pieces of plywood, cardboard, or aluminum, whose forms reference Cubism, Abstract Expressionism, graffiti, cartoons, and the modernist works of Henry Moore and Alexander Calder. Among Curry’s public commissions is Melt to Earth (2013), an installation of 14 sculptures ranging from 4 inches to 19 feet tall, which were scattered about New York’s Lincoln Center Plaza, popping brightly against its muted tones.