Aaron Axelrod is an artist who is known for experimentation with materials of all sorts; he has worked with several art forms including painting, sculpture, installation, performance, and video art. Axelrod grew up in a family that supported and encouraged appreciation of the arts; thus he had the advantage of an early start on his career. He began making art as early as middle school, but his official debut in the industry was when he created a Los Angeles Angel at the age of 18 (Popescu, “Aaron.”). Since then, Axelrod has collaborated with Disney, Google, band art at Coachella, and other well-known brands (Popescu, “Art”). After acquiring years of experience and changing his style countless times, we now see his work showcased at the Manifest: Justice exhibit in California. His installation Boy With Skittles is a tribute to Trayvon Martin, meant to sound an alarm. Axelrod’s powerful message of white supremacy resonates in one’s mind when fully interpreted.
Axelrod has changed his style several times through the course of his career. Rather than sticking to one single genre, he goes through phases where he focuses on new techniques and aesthetics. Generally, his work is known for its unusual focus on “social interaction, psychedelia, and public space” (Swarthout). Axelrod designs his work so that the message it sends promotes conversation. Boy With Skittles is about a controversial, yet urgent topic for American society–racism and how it affects the lives of black youth.
This installation piece asks viewers to confront the uncomfortable truth about race relations in America. The faceless hooded figure perched above the doorframe is reminiscent of Trayvon Martin, whose innocent trip to the convenience store ended in a tragedy when a ruthless neighborhood watchman murdered him in the street. George Zimmerman, the watchman, called the police to report a suspicious black male. When the 911 operator told Zimmerman to leave the boy alone, he refused to comply (Alvarez). Though we may never know for certain the exact events of that night, one thing is certain–Trayvon Martin is dead. Despite the heavy controversy surrounding the case, the viewer is forced to think about the Black experience in America upon gazing at this artwork.
Due to his attire, Martin was accused of looking suspicious on the night of his murder; he was wearing a hoodie, and holding Arizona tea and Skittles. Since that fateful night, the hoodie has become the unofficial “uniform” for black youth in America. In the hundreds of “Black Lives Matter” demonstrations since the tragedy, the hoodie has been consistently used to show support for the cause. Whenever a hoodie is worn at a protest, Trayvon Martin and the injustices of his death immediately come to mind. This symbolism holds deep significance for great reason. The hoodie is a common clothing choice among black youth; yet people of color who wear hoodies are profiled in ways that can cost them their lives. Disturbing amounts of young unarmed boys and girls are being killed at growing rates in America, and racial profiling has a lot to do with this problem. Axelrod attempts to address this in Boy With Skittles by using a dark hoodie as one of the central details of the piece.
Axelrod makes use of contrasting colors to draw attention to the key details of the installation. All of the clothing is dark, with the Arizona tea, Skittles, and neon halo being the only colorful elements of the artwork. The color represents the sainthood and innocence of Trayvon and all victims of racial profiling. The dark clothing is meant to invoke a somber tone when remembering the tragedy of Martin’s death. Boy With Skittles was strategically created without a face, to let the viewers know that this piece is not solely about Trayvon Martin–it is about the racial injustice that surrounded his death. The facelessness of the figure represents all the lives lost due to the racism that thrives to this day in America. Tea and Skittles are nonthreatening items that can remind one of childhood; they are symbolic of how there was so much life left in the countless black lives lost to racism.
The placement and size add to the realism of the installation. The figure is approximately the size of an average teenager. This detail is crucial because it creates a more personal viewing experience; the fact that the piece is the size and shape of a real human creates an even more impactful message. Placing the installation over a doorframe creates the feeling that Martin is looking down on society from above. Boy With Skittles is high above ground, which suggests that Trayvon is now in a better place, perhaps heaven. The angelic halo around the head implies that he was martyred, and thus deserves honor. Axelrod seeks to embody Martin’s innocence and is incredibly successful in doing so by manifesting these techniques.
Made of mixed media, the work contains multiple layers and dimensions that enhance the viewing experience. Boy With Skittles was constructed using clothing, food items, neon signs, and PVC pipes. If this artwork was two-dimensional and had been created using only one or two materials, the viewing experience would not be as dramatic. As viewers walk under the installation, see it above them, and stare into the faceless hood, they experience the tone Axelrod aims to set.
The hoodie continues to bring hope to people of color struggling to end racial violence. Trayvon Martin, who became a symbol for racial injustice in America, brought about increased consciousness on the issue with his tragic death. Martin is symbolic just as Emmett Till was in his day—another boy lost to racial violence. Boy With Skittles is in itself representative of the black lives lost daily, due to the racism that is flourishing in America. At a time when racial tensions are rapidly increasing, it is essential to recognize the prejudices and injustices that exist in the United States. Social awareness is always the key to resolving issues such as this. Aaron Axelrod forces viewers to recognize the reality that people of color face every day by creating a tribute to a controversial, yet unforgettable instance of injustice.
Nicole Ward
Works Cited
Alvarez, Lizette, Buckley, Cara. 13 July 2013. “Zimmerman Is Acquitted In Trayvon Martin Killing.” 15 July 2015. <http://www.nytimes.com/2013/07/14/us/george-zimmerman-verdict-trayvon-martin.html?_r=0>
Culley, Liz. Web. 25 October 2013. “Aaron Axelrod Sips Stouts and Spews Paint.” 15 July 2015. <https://myspace.com/article/2013/10/24/free-lunch-aaron-axelrod-melting-rainbows>
Popescu, Adam. Web. 13 December 2012. “Aaron Axelrod’s Music and Painting Performances Light Up Downtown’s Vortex Dome.” 15 July 2015. <http://www.laweekly.com/arts/aaron-axelrods-music-and-painting-performances-light-up-downtowns-vortex-dome-2612322>
Popescu, Adam. Web. 28 April 2015. “Art In Your Face.” 15 July 2015. <http://smashd.co/art-in-your-face/>
Swarthout, Bryan. Web. 2012. “Axelrod.” 15 July 2015. <http://aaronaxelrod.com/studio/bio/>
NA. Web. 2015. “Introduction To Mixed Media.” 15 July 2015. <https://www.artspan.com/mixed-media#.VadWwhNViko>