[Aaronel’s] excitement in the 1960s stemmed from the era’s foremost American abstract sculptor, David Smith (1906-65). Pittsburgh artist/critic Harry Schwalb introduced Aaronel to Smith at an awards dinner after he and New York painter Theodoros Stamos had juried the 1961 Associated Artists of Pittsburgh annual exhibition at Carnegie Museum of Art. They awarded her abstract painting Mystery, 1961, first prize. Smith said to her husband [Irv], president of the American Forge & Manufacturing Co., McKees Rocks, Pennsylvania. “Why don’t you encourage Aaronel to work in steel? She has a good three-dimensional sense.” Later Smith invited the couple to his home at Bolton’s Landing, New York. “Seeing David’s field of steel sculptures there was most inspiring,” Aaronel recalled. “He influenced me because his works were so dynamic and powerful.”

“In my work the viscoid Plexiglas is vacuum formed into rounded, square-domed, or triangular shapes. Later these pieces are built into the sculpture as concave or convex sections or solitary features. Due to its clarity, acrylic looks best when it is smooth and highly reflective. I try to meet this criteria and add the excitement of movement and light. I work with kinetic movement which is described as giving life to the art or suggested movement, but in the still pieces I endeavor to create this same feeling of life through series progressions and interrelationships of colors. These forms are then positioned in such a way to suggest motion or expansion. I interplay convex and concave forms to create a feeling of balancing on the edge of a precipice, like an odd-shaped sphere stopped in action and made to balance in a moment in time.”