AARON "SIMON" SIMONSON During the works creation I am experiencing and responding to the land and seascape’s moods and dramas. I am inspired by nature spirits; colour, light and rhythm.

I do personally spend much time in nature and I draw significant strength, hope and sustenance from being with the trees, sky, wind,  sunlight  and moon and ocean.

“Not I, not I but the wind that blows through me” D.H. Lawrence, from his poem, Song of the Man Who has Come Through. Hence the pseudonym “Simon”, the character who presents the work.

I create the works with the aim to inspire and uplift those people who can appreciate them and own them. This aim brings a practical element  to production and presentation. The works are sensible sizes and prices. Done on canvas with good quality oils, well grounded technically and varnished on completion.

They are underpinned by traditional accurate charcoal drawing. Yet the colour and rendering is often bold, free, loose and raw. So then the work is accessible but not predictable. Each of these two dimensional pieces, no matter how representational, is ultimately an arrangement of abstract shapes, colours, lines and textures.

There are some examples here. Other and more recent work can be seen at annual Feast exhibitions Adelaide, November, and also annually at John Davis music shop rundle street Adelaide, February. Also at local Rotary Art Shows Adelaide.

I was an emerging talent in the 1970’s attending Julian Ashton Art School studying drawing and tonal realism. I was not able to pursue my art at this time. In 1990’s I attended Stanley Street Art School studying oil paint technique, composition and drawing. Again life commitments prevented further development.

I started painting seriously again in 2000, and in 2008 really started to find my own voice. I have been consistently selling work since then. Also winning prizes at the Red House Gallery (now Gallery M), Big Circle Arts Collective, Feast Adelaide, Clare and Flagstaff Hill Rotary, Adelaide.        

I have an ongoing commitment to exploring the relationship between painting and drawing in response to Nature. I do also experience the profound sadness at the continuing destruction of our planet. However I am resolved to record the remaining celebrations of Nature's infinite wonder.

Interview with Simon. “I’m not a post modern artist, a kind of visual social worker of personal or public politics, or continually trying to reinvent or define through the bizarre or shocking. I tried that when my art was my catharsis during my recovery from post traumatic stress. It was useful during my recovery process, but, now it's a kind of folk art I suppose, or  “refined folk”, not primitive style, although I understand the poetry of that vision, like Pro Hart. I mean modern art historically was when art became the art of the people, not the salon or the upper class or aristocracy. But Monet, Vincent and Kandinsky, Klee, and Fred Williams, and Turner, and Streeton and Ashton and the great female Australian artists pursued their vision diligently, striving for excellence, as I do, looking to their example. It is relevant because it is painted now, about subject matter that is here now, and my art is for the people.”