Dreaming in Reverse 2019
Acrylic, charcoal, gouache, and ink on gallery stretched canvas.
Art Keeps Going…. This piece has a working title of GONZO (Hunter, not Muppet). This is just another small corner. I’m in the place where the painting I anticipated creating has become its own being (much the way I assume parents look at their children who have grown up, I imagine.) I had an entire base painted out, had sketches of what I had intended and practiced the technique I was going to implement. I put more effort into the prepping and planning stages than my usual routine because I’m trying to be more deliberate and harness some of the swirling around my brain that goes on and focus. Now those are basically out the window and I’m trying to keep up with myself. Much like the curve ball Mother Nature has thrown us, life is often times about adaptability and being able to roll with the punches, right? We have to think fast on our feet and be willing to let go of what we thought we knew and were expecting and be able to be resilient and persevere through the rough parts. It can’t all be ice cream sundaes and bubblegum drops. So with that, every new day brings new challenges and the only thing I know for 100% certain won’t change is that change is inevitable.
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Brown is primarily known for vigorous, large-scale oils that blur the boundaries between figuration and abstraction, or, perhaps more accurately, render figures in abstract terms; her snaking, libertine incrassations make steaming hash of the Renaissance, unmooring pathos and narrative from their stodgy compositional prerequisites. Her dynamic canvases transform paint into flesh, using viscera as the groundwork for commentary on desire in all its shimmering, fractious ambiguity.
Drawing on the ethos of predecessors like de Kooning, Brown subverts painterly conventions of the female nude by invoking the grotesque, the repugnant, and the ineffable. Still, there’s no shortage of generosity and humor in Brown’s work, and her signature harshness never gives way to cruelty, preferring instead to articulate the shared existential mire of human embodiment. Bodies, not just gorgeous or sinful ones, are faulty, and gross, and so often needless; Brown does not shy away from our frailties, but rather constellates them, and her edgeless testaments to want and its discontents pulsed far too loud to avoid notice.