Artist Creates Metallic Paintings of Ethereal Female Figures
Ethereal female figures emerge from metallic backdrops in Aiden Kringen’s striking paintings. The California-based artist frames grayscale renderings of women with ‘broken’ gold, silver and copper pieces to create kaleidoscopic compositions that evoke a sense of mystery.
The fragmented technique used in the background is juxtaposed with the realistic approach used to craft the human figures. This unexpected combination imbues the paintings with an energetic tension. “I strive to take traditional realism down and scale it down and reassemble it along a geometric framework that fits into a modern context,” Kringen says on his website. “For me, the process of painting a portrait or a figure involves a balance between reality and abstraction, down to every feature of the face or hand. I dissect the figure using linework , dividing between tone and texture, then reconnects the pieces along unseen planes throughout the painting.
Most of these enigmatic women appear through the gold and silver wrappings with quiet expressions, their eyes generally looking away from the viewer in a daze. The cracks that shatter the metal backdrops extend into the bodies of the female characters, also breaking their skin in places. “My goal as an artist is to encapsulate idealized beauty through a cracked or broken lens,” he explains. “I respect the purity and beauty of the human essence while accepting that it is imperfect, and therefore portray it through a process of fractalization.”
You can purchase limited-edition prints of Kringen’s art through her website and keep up to date by following the artist on Instagram.
Californian artist Aiden Kringen creates figurative paintings with a metallic palette.
It renders ethereal grayscale figures surrounded by an abstract background.
The “broken” pieces of metal, silver and gold cover the women’s heads and parts of their bodies.
Aiden Kringen: website | instagram
My Modern Met has granted permission to feature photos of Aiden Kringen.
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