Aaron De La Cruz's work, though minimal and direct at first, tends to overcome barriers of separation and freely

steps in and out of the realms of design, graffiti, and illustration.


The parameters he has chosen to work within actually allow him to free himself and react to the very limitations he has created. This overriding structure and the lack of deliberation while moving within creates a tension when encountering his work due to the almost computer generated grid like systems he creates by unplanned markmaking. The act and the marks themselves are very primal in nature but tend to take on distinct and sometimes higher meanings in the broad range of mediums and contexts they appear in and on.


His work finds strengths in the reduction of his interests in life to minimal information. De La Cruz gains from the

idea of exclusion, just because you don't literally see it doesn't mean that its not there.