​​Stargazing unfolded between 2004 and 2010 — not as a straight line, but as a sustained orbit. Graphite and fire worked side by side during those years, each informing the other while life carried on in the background like weather.

Large sheets of bristol board sat on the table. Kilns glowed in the studio. Mechanical pencils wore down to stubs. Cones bent in heat. It was all happening at once.

Drawing at that scale with a 0.5 mm mechanical pencil is a test of patience and vision. You don’t muscle through it — you endure it. The same geometric form appeared again and again, quiet but persistent. It rotated. Multiplied. Shifted. Collapsed into pattern and reassembled itself. Each drawing felt less like invention and more like navigation — charting constellations one measured line at a time.

There is a respectful nod to M. C. Escher in the structural cleverness, but the language is Aaron’s — astronomical restraint meeting obsessive geometry.

At the same time, clay was being cut, scored, and slab-built into abstract forms that carried those same geometric bones. The kiln became another kind of sky.

The American raku pieces left the fire like meteors — pulled from open flame, glowing, carbon marked, immediate. They cracked and flashed as air met heat, surfaces recording the violence of entry.

The cone 10 high-fire works took the slower path. More asteroid than meteor. Long reductions. Sustained atmosphere. Temperatures climbing past 2300°F. These pieces didn’t burst — they endured. They formed under pressure, in the clouds that nurse stars.

Some forms felt like comets — bridging both worlds. Fast and volatile in spirit, but shaped by long heat. Each trajectory different. Same gravity.

Hotter than the sun. Cooler than a supernova.
Abstract forms with geometric structure, tested in extremes.

Across six years, graphite mapped the sky while clay entered it. The drawings charted space; the ceramic forms carried mass. Together they became a single body of work — disciplined, heat-tempered, and quietly relentless.

The completed suite — drawings and fired forms alike — converged in a solo exhibition at the Springbox Gallery. Peers, collectors, and the observant stepped into the orbit.

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