This exhibition showcases Aidan’s keen observations of the world around him. His growing library of iconography draws on the repetitive, yet meditative process of imagining storylines which explore people, place, and culture. His humorous and biting commentary conveys an irreverent picture of our times. This body of work positions viewers to reflect on their own experiences of connection and isolation. His art not only discusses the subconscious social understandings of everyday human behaviour, but unpacks intersectionality as he explores the cultural spaces that have fought to exist within the Western world.
The different faces have followed Aidan throughout his adolescence and into his adult life. Starting off as mindless doodles, they have consistently evolved alongside him. Within the Safe Space Residency he recognised that it was time to push them further, subsequently exposing a part of himself as they have always been a symbol of familiarity.
There are numerous motifs which further contextualise the exhibition and its conceptual capacity. The restrictive use of materiality as he only used desk stamps, as well as the colours red, black and blue to symbolise pens contributes to the referencing of hostile office spaces. The structure of each work is also astute as Aidan references the formatting of excel spreadsheets and the endless repetition of uniformed rows and columns. The repetitive action within the medium of printmaking is challenged by the fact that each stamp will never be exactly the same. Ultimately encapsulating the comfort in individuality yet the unsettling feeling of being othered.
His integration of text enables a sense of intimacy as the viewer is drawn in close in order to make sense of the small scale letters. Punchy one liners litter across each page as Aidan has used poetry to position the viewer into a place of imagination. The two works, ‘The Woman Crossed The Street. The Man Missed The Que.’ and ‘Can't Stop Thinking ABout All The Things I Said Today’ are excellent examples of this visual poetic device being manipulated.
‘Aboriginal exhaustion is valid’ explores the cultural taxation which accompanies First Nations programming. Whilst representation and inclusivity is incredibly important, recognising the tiredness that emerges for First Nations people within these diversity efforts is just as important. The recognition that institutions were not made for Aboriginal and Torres Strait Islander people and that is why it is crucial to carve out a seat at the table and ensure our perspectives are not only heard but respected. In his artist talk Aidan explains; “Being staunch and deadly is important but we also have to normalise the tiredness that comes with cultural performance.”
BIG FACE ultimately deconstructs the social and cultural expectations within our society, positioning the viewer to question not only themselves, but where they fit amongst it all.
On until January 30th, 2025, come check out Aidan’s first solo exhibition at 89 Grey Street, South Bank, Brisbane. 4101. If you are unable to pop in, definitely explore the exhibition through our Virtual Gallery!
Blog written by Makayla Dass, 2024.
