Unbounded by time, space and that growing list of labels that we use to categorize ourselves in modern society, perhaps Aiman’s paintings are a closer representation of Whitman’s idea of universal interconnectedness. And, just maybe, you can catch a glimpse of the perfection that the poet dreamed of in those very paintings.
Below, Aiman gives us a deeper insight into his new artworks.
Can you tell us more about your second solo exhibition, The Evolution of Eian & Eien? How did the series come about?
I actually dreamt of the first painting. In the dream, I had a vision of someone throwing flowers to someone else, and the flowers went through different portals. I woke up and thought to myself: “This is a beautiful visual.” I didn’t remember everything at once, just little bits and pieces here and there. I tried to research more about my dream to make it into a painting later. One of the key ideas was that basically, when you give someone flowers, you’re giving them a part of yourself. It’s the whole idea of giving and receiving; it’s kind of like a balanced duality.
What is the significance of the name of your exhibition?
One of the things that I remembered from the dream was the name “Eian”. I researched it and learned that it’s both a Hebrew and a Japanese name. In Hebrew, it’s more of a male name that means “God is gracious”, while in Japanese it means “eternity” and it’s linked to a female name. I liked that the name represented a balance between male and female, as well as the Asian and Western worlds, so I decided to go with that.