Ahron is a fine artist, marketing professional and creative visionary who spent his early career working in account management and brand strategy at US and European advertising agencies including JWT, Euro RSCG, Y&R, McCann Erickson, Grey Worldwide and Our Man In Havana before founding SirREALISM, a creative consultancy dedicated to The Art of What Works. For the past six years, Ahron has served as Chief Marketing Officer of DocGo, a leading provider of technology-enabled mobile healthcare services in the US and UK.

Ahron’s photography and mixed-media art has been featured in galleries and museums in New York, Prague and Israel, was exhibited at The Armory Show 2015, and is in permanent collections including The Philadelphia Museum of Jewish Art, The Museum on The Seam, The Mishkan Museum of Art, and Time Warner, Inc.

Ahron was born in Brooklyn before Brooklyn became Brooklyn. A passionate chef, avid fly fisherman, lapsed falconer, and ardent birdwatcher, he currently resides on Long Island with his wife, three sons, and Double Doodle Caesar.

ARTIST’S STATEMENT

MEMENTO MORE: REMEMBER YOU ARE CONSUMER
Art imitates life. Ads imitate art. Life imitates ads. And around again, in a monstrous cycle of disposability, and kitsch recollection. I've never been able to understand how artists can work all day and create all night, and not countenance some bleed between their disciplines: some semblance of mutual influence, some reaction - positive, negative, anything. For the last three decades I've been paying bills by working in the advertising and marketing industry, and for the last five decades I've lived and raised a family in this media-saturated, 24/7 ad-fest we call World. In that time I've become fascinated by the ephemeral nature of the products I've sold, and the products I've bought, and the dreams of eternality and immortality inherent in the fashioning, and enframing, of beauty, and truth. My practice, then, has progressed from photographing shredded advertising posters on city scaffolding and walls, to systematically decollaging in situ street advertising posters–a form of Semiotic Archaeology–to uncover hidden meanings and hermetic truths. I’ve recombined appropriated images and logos from print and online media in the interest of candor. I've fabricated skeletons out of logos, fashioning mascots of the ways not just our minds but our bodies too have been proprietized. I've combined found objects - rusted scrap metal, dental impressions, discarded technology, natural detritus and brand iconography - into immersive environments - commercespheres - in which the audience itself becomes the installation: an entity to be demographically parsed. Advertising "culture" is everywhere, everywhen, and yet because each signifying campaign is not intended to outlast its signified, its vocabularies, tools, and artifacts must be perpetually renewed. It's that in-wired obsolescence, and that insatiable appetite, I seek to address - or, perhaps, I'm hoping merely to show the scars of my collaboration with madness.