Raised in San Antonio, Texas, Aaron Curry (b. 1972) studied at the School of the Art Institute of Chicago in Chicago, Illinois, and at the Art Center College of Design in Pasadena, California. He currently lives and works in Los Angeles, California. Curry describes his work as collage-based and significantly influenced by elements in popular culture, including his background in music, science fiction and comic books. As a teenager, Curry was attracted to the design of guitars, record albums, action figures and skateboards displaying colors and forms inspired by 20^th century sculpture and modernism. References to the sculptures of Alexander Calder abound in his work, including curvy biomorphic shapes and vibrant palettes. Most of Curry's sculptures emerge from his constant doodling of abstract, figurative and cartoon-like images in sketchbooks. His design process involves transferring a drawing to plywood or Ram Board (a thick, compressed recycled paper material used by contractors), cutting out the corresponding shapes, assembling the pieces as a maquette, and ultimately having everything fabricated in aluminum. Curry employs slots and balance, rather than bolts, to hold the various planes of aluminum together in his sculptures.

The distinctive purple finish on Danny Skullface Sky Boat (Reclining) reflects Curry's BMX bike racing era and the gorgeous, anodized paint jobs he admired on two different brands of bikes. Anodization is an electrochemical process that thickens the oxide layer and transforms the metal into a durable, scratch and corrosion-resistant material capable of integrating color. The surface of the sculpture also incorporates careful "markmaking" at the joints, inspired by the aesthetic welds on high end bike frames. In Danny Skullface Sky Boat (Reclining), the clean, straight lines of the sculpture's lower half give way to more organic shapes, in the abstracted skull form, dramatic horns and jaw-like protrusions, that evoke visions of a prehistoric rhinoceros, bison or dinosaur. Curry manipulates the various planes to achieve a middle ground between two dimensions and three dimensions as well as an illusion of depth, while simultaneously implying that the sculpture could methodically fold up into a neat stack of metal sheets.