Everyone worth their weight in art-world credibility has something to say about Aurel Schmidt's art being about social detritus. Or sexual angst. Or human decay, whether physical or otherwise. And maybe, all of these things are true about the works created by the New York-based, British Columbia-born contemporary artist.
However, I wonder what the artist herself would say; is she just having a private laugh over this emotive depth attributed to her work? Or is she onto something with her deceptively saccharine, yet grotesque drawings: that within the stinking flotsam-and-jetsam of our lives, there floats some sort of deeper understanding?
I should seek her out and ask what's really at play...
For now, all I know is that I like what I see in Schmidt's work, and that her technical skill is extremely impressive. And that I'm a bit of a fool for snoozing on Exhibition A's limited edition print of her Count the Crows work (above), which is now sold out.
Meant to benefit RX Art and the Middle Eastern Children's Alliance by by 'sending humanitarian aid, supporting projects for children and educating North American and international communities about the effects of the US foreign policy on children in the region,' Count the Crows stands as a simple, yet intriguing introduction into Schmidt's fantastical universe of 'pretty-mess.'
If you also missed out on this Exhibition A print, perhaps Reveries of a Lost Mask Life , a recent Morel Books publication of works by Schmidt and the poet Franz Wright, will tide you over...
NB Image Courtesy Exhibition A