Aaron Ossia reinterprets space and movement in space, with lines, geometrical shapes and colour.
Ossia likes to visualise the precision, perfection and strength that lines, geometry and colour-as-material can produce. However, this strength also showcases a degree of fragility, instability and futility. The cross-section of this dichotomy is where his process-based practice comes to life. By layering paint, utilising wood beams as physical lines, resembling support systems or barriers in a given space, he creates form and architecture.
Ossia uses multiple media to reinterpret (public) spaces with immersive, site-specific installations and performances, and his paintings serve a purpose in his site-specific work.
The use of colour as form is a predominant aspect of Ossia's work. Initially, his inspiration to experiment with colour as material, was the loaded statement of Goethe’s Theory of Colour: “uncivilised nations, uneducated people and children, southern Europeans and women have a fondness for colours in their utmost brightness.” Ossia's work acts as a double-edged sword, provoking a nympholeptic or a critical reaction to this theory.
Through implementing a reductive language and process, he purposely distances himself from the notion of his own identity, cultural and socio-political background. Yet this process in and of itself is a statement on the question of his identity. Ossia reconstructs identity through his interpretation of reductive language and image prohibition in art history, as well as his own compulsion and fascination with order and sparsity.
In their formality, one might consider Ossia's geometry and lines as abstract ideas, but in reality, they are facts and traces of his mind that he leaves behind.