December 17, 2023
by Béa Aaronson
Collage is an organic process, disconcerting at first, like life really. I need to readjust my eye and my mind constantly in order to reinvent a coherence amidst the essential incoherence, the womb of my creative process.
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Juxtaposing, overlaying disparate images from disparate substrates such as popular magazines, art reproductions, old drawings and paintings of mine, and cutting, sometimes following the contour line of the object, sometimes cutting across, cutting through, to destabilize comprehension. Cutting, and also tearing… marvelous thing this torn edge, furry, incisive, erratic.
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Collage is not anti-painting. I do not reject painting, on the contrary, I amplify its scope, its power.
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Collage adds a speculative dimension to imagery, it inscribes a memory in action… A physical and a cerebral activity, harmonizing together randomness and calculation, uncertainty and certainty, indetermination and determination.
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Part 2
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Béa Aaronson was born in Paris. She is a self-taught multimedia artist (painter, sculptor, welder, collagist, photographer), a published poet, author, and art critic, an international lecturer and independent scholar, as well as a stage performer and movie actress.
She holds a Honors degree in History of Art, with a thesis on Gustave Moreau A Mystical World, an MA in French Literature with a thesis on Charles Baudelaire entitled Baudelaire Le Sang: Homopoeisis et Blessure, an essay on the symbolism of Blood and the Wound in The Flowers of Evil, and a PhD in Philosophy and Comparative Literature with a dissertation on Marcel Proust, The Bark and The Sap: A Midrashic Reading of Marcel Proust’s A la recherche du temps perdu, focusing on the Jewish Kabalistic dimension of In Search of Lost Time.
She has published many essays, poems, articles, drawings, paintings and photographs in various magazines, journals and encyclopedias, such as Found Object in New York, Deus Loci in Baltimore, Tessera in Canada, The Review of Francophone Literature in Amsterdam, The Encyclopedia of Twentieth Century Jewish Writers in London, and Polyphony in Charleston. She published and illustrated her first book in 1998, Baudelaire-Miller Sexual Squalor in Paris, which is now the property of Harvard’s Private book collection.
Aaronson has exhibited her work in
the FIAC in Paris and Strasbourg;
Galerie de l’Europe, rue de Seine Paris
the Chateau de Sade for the French designer Pierre Cardin;
the International Art Fairs of Miami and Beirut;
the National Gallery of Art in Cape Town, South Africa;
the Gibbes Museum in Charleston, SC;
in Israel, Mexico, and the United States of America.
She was the official Piccolo Spoleto poster artist, in 1989, 2001, and 2005, and also created posters for The Alliance Française and the Jewish Cultural Center of Charleston, SC.
Her creative journey is an adventure of the senses, a synesthesia of energies and media… Beyond frames, beyond categories.
bea_aaronson@hotmail.com
415 152 02 36
www.artlifebea.com
More art
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