Ripple: Aaron D. Williams

Cleveland-based artist Aaron D. Williams, a.k.a. AAWFUL AARON, sat down with Friends of Friends co-founder Dililah Gonzalez for our second issue of Ripple. The two spent an afternoon exploring Aaron’s solo exhibition, Scorporation, at Summit Artspace in Akron, Ohio, reflecting on the creative influences, community, and mentorship that continue to shape his practice.

Photo by Dililah Gonzalez

DG: Ripple is about tracing influence in real time, not in hindsight. When you think about your last few weeks, not your career highlights, just your actual days, what's something that's been shaping how you create right now?

AW: High key, I feel like I've fully surrendered to people not understanding my inner boyish wonder. As adults, we're encouraged to turn our backs on that creative force, but I've realized that's where all my best ideas come from. I've always drawn inspiration from the same things that fascinated me as a kid: anime, action figures, collectibles, sick clothes, great conversations, and spending time with people who make me think differently. For a minute, I was in survival mode, and survival doesn't really leave room for imagination. Coming out of that reminded me that wonder isn't childish; it's necessary. It feels good to be back. It feels good to be home.

DG: Instead of asking what you're inspired by, I'm curious what you keep returning to. Is there a place, habit, song, art, even a specific moment that feels like a creative anchor for you lately?

AW: Cartoon Network, honestly. Not just because of the shows, but because it represented a place where anything could happen. Every cartoon had its own universe, its own rules, its own logic. Looking back, I realize that's what I've always been trying to make- not individual paintings, but worlds people can step into. I'm less interested in making artwork than I am in building worlds people can believe in. That's how I think about public art, exhibitions, Young Cleveland Renaissance, even the projects we're building now. Giving myself permission to chase that same feeling again has been magical. That's the lane I'm staying in.

Photo by Dililah Gonzalez

DG: In the press release for Scorporation, you mention that the work combines the idea of resilience and resourcefulness. Compared to where your mindset was during the creation of this body of work, how do you feel now that you are on the other side of it?

AW: Seasoned. This has been one of the most transformative seasons of my life. While preparing my first main gallery exhibition, I was also creating a permanent public artwork for the Cleveland Public Library. Those experiences demanded a different version of me. I have a level of clarity now that I didn't have before. I trust my instincts more. I trust my imagination more. More than anything, I'm excited because I finally feel like the work is catching up to the vision I've had in my head for years.

DG: You also mention that this specific show is serving as the arc for the Aawful Aaron saga. During this part of your journey, what have you learned or rediscovered about yourself, not just as an artist, but as an individual, that maybe you haven't connected with in a while?

AW: Definitely my storytelling. When we were kids, we'd grab a bunch of unrelated toys and somehow create entire universes that made perfect sense to us. I realized I never really stopped doing that. I just traded the toys for paintings, public art, fashion, publishing, music, andcommunity projects. For a while, I lost touch with that because I had healing to do. Once I got back in alignment, everything started clicking again. Now I understand that storytelling isn't just something I make; it's the way I experience the world.

“Burn.” (2022) painting by Aaron D. Williams

DG: You are also the founder of Young Cleveland Renaissance (YCR). How are you using your experience as an artist to assist young creatives in cultivating their own identity in the art space, especially in Cleveland?

AW: Young Cleveland Renaissance started because I realized talent alone isn't enough. A lot of artists never get access to the business knowledge, relationships, or opportunities they deserve. I want YCR to become a place where artists learn how to build sustainable creative lives while staying true to themselves. Whether that's through collaboration, education, exhibitions, publications, or simply putting people in the same room, the goal is the same: help artists own their future instead of waiting for permission. At the end of the day, all we can really do is set an example, so I try to be mindful of the people looking up to me and make sure the next generation is equipped to run it up in their lifetime and beyond.

“See No Evil” (2022) painting by Aaron D. Williams

DG: Ripple is about passing energy forward. When you think about the next artist you'd want to shout out, not necessarily the most obvious one, what draws you to them right now? Please include three artists you think more people should know about.

AW: I'm shouting these people out because I've had a front-row seat to watching each of them become who they're supposed to be. It's been an absolute pleasure to work with all three ofthem and see us all step into this next chapter together.

Tyra Sledge is first. Tyra and I locked in and never looked back. She's more than a stylist to me; she's really my big sister, and we've been cooking up some crazy work together. I can't wait for the world to experience what we're building.

Toby Griffiths is an absolute powerhouse. His painting practice is crazy, but beyond that, he's one of those people who elevates every room he's in. Young Cleveland Renaissance wouldn't be what it is today without him, and that's real.

And then there's Eli tha Don. Eli is a true once-in-a-lifetime type of MC. I haven't been this excited about Cleveland music in a very long time. He's got the city on his back, and I genuinely believe it's only a matter of time before the rest of the world understands what we've been seeing.