Aaron Wexler is a contemporary artist based in New York City. His work has been associated with prominent brands such as Tiffany & Co., Bergdorf Goodman, COACH, Reed Krakoff, Barneys New York, Tibi, Pamplemousse Design, Pantone, Kohn Architecture, and AKRIS.

"There’s something about elements in nature that are always surprisingly abstract to me. I’m interested in shapes in nature as they relate to abstraction in painting. In my work I investigate the curious, rich area of visual potential these shapes exist in. I question how we interpret what we see in terms of abstraction whether it is by chance or intentionally looking at a work of art.

I collect distinctly different representations of abstraction of nature and architectural networks. Utilizing prints, books, photographs and hand painted paper, I make drawings and collages from these source materials. They become cut and paste blueprints from which I build my surface layers, weaving a latticework of organic and angular forms.

Concealing and revealing in my work is an important form of visual play. I play with the back and forth between what is print, what is paint and what is just negative space. Collage is a form of sampling but for me it’s what’s in between those samples, which is just as exciting. My selection process of shapes, images and paint is based in poetic responses on how I respond to formal elements – it is in that act that I find profound meaning."

Aaron Wexler

Aaron Wexler's work is fundamentally collage-based, constructed through the meticulous layering of collected print material, found photographs, and hand-painted paper. His painted paper resembles monotype printed surfaces and staining techniques. Recently, he has been pigment-treating Japanese washi paper, Thai mulberry paper, and Italian printmaking paper to use as collage material.

Wexler explores the analog creation of registration and purposeful mis-registration, energizing the space between with a vibrating visual distortion. He works on both paper and wood panel surfaces, frequently moving the image from table to wall to floor and back to the table. The limitless process of collage-based work excites him as a truly malleable medium.