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Selections by Aaron Bohrod of his paintings

[Printed script for filmstrip],   pp. 13-24

Page 20

                          "The butterflies and eggshell look like the
real objects. 
                          Did this come from looking at the real things?"
                                "Yes, this is part of the artist's problem
                          examining all the materials that he is concerned
                          and trying to determine the differences among these
                          objects, and it was part of my problem to have
                          softness of butterfly wings contrasted with the
                          of brittleness of the eggshell, and in turn that
considerably different from the shiny metallic surface of the horse. 
                          "The detail of the fish, too, shows a kind
of texture 
                          which wasn't used in other portions of the painting,
                          and here I very meticulously tried to get the scales
                          on the head of this dried-out fish, and I think
that it 
                          gave me the opportunity to get some welcome variety
                          in this rather complicated painting." 
                          "Why did you place the hand in Bed of Leaves?"
                                "This is a composition that contains
mostly dead 
                          objects, dried out leaves that can be seen on a
         S: ..floor. Within this general composition, I placed a hand 
                          out of which comes some glowing, live flowers as
                          kind of contrasting element of life. I think this
kept the 
                          painting from being too pessimistic and sad a picture.
                          "The hand, of course, is a symbol of life
even though 
                          it is a hand which seems to have been battered
                          a little bit. The fingers of the doll's arm, which
                          I used as a symbol of the hand, is worn at the
                          fingertips as you can see, but still it's an element
                          of hope in this particular composition." 
                           "A student wondered, do you always hide your
                           in different places in the painting?" 
                                "I'm not so sure that I'm that modest
                          hiding my name. I know that I place It in different
                          parts of the composition as the needs of the composition
                          dictates. Here, in the Bed of Leaves painting ...

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