Nature laughs at Gomorrah Painting

Biography Aymar was born in Bordeaux in 1973, although his family is originally from Reunion Island (Indian Ocean) on his father's side, and Normandy on his mothers'. He grew up between Normandy and Provence, in France, and moved to the USA at the age of 23, where he has stayed for over 12 years living in New York, Miami and San Francisco. Aymar has been painting for twenty years or so, but his interest started long before that. Deeply influenced by his grandmother, who painted colorful pieces based on Reunion's landscapes and whose house was always open to artists, other direct influences early in his life include Pierre-Paul Ambroselli, a Normand sculptor focused on sacred art who was his neighbor in Normandy, as well as Albert Mallet, Bernard Pochon and other Normand impressionist and expressionist painters. When he moved to Provence, he was influenced by Maxime Richaud as well, a Provencal painter and friend of the family. He followed his calling to study Plastic Arts in Aix en Provence, then Art History in Montpellier, where he discovered some of his favorites: Kandinsky (the Blue Riders), Fauvism, and Italian Futurism. Among the classics, he also admired the treatment of color and light of old masters such as Tiziano, Delacroix and Gericault. Once in the US, Aymar perfected his technique by working as a scenic artist and set designer for a number of years, and he also had an incursion of six years into the world of business and new technologies, while part timing as a commissioned artist for interior designers. It is in mid 2009 that he decided to focus completely on his own creations and become a full time artist. His latest paintings incorporate as well influences from Japanese artists, such as Ando Hiroshige and modern manga artist Hayao Miyazaki, from whom he admires the way they represent the relationship between the Spirit of Nature and humans. The Work Technique Aymar's latest series is developed around trees. In all the compositions he uses the tree trunks as the vertical lines that mark the rhythm, the tempo in the melody of the painting, while the horizontal lines frame the story, just the same way as bass and high notes frame the melody in house music. The bass (loud) vibrates through your feet from the floor while the high notes are higher above you, and the melody goes through you.