For my further artistic practice I would like research the accelerating effect the implementation of digital technology and algorithms has on an individual.
For my further artistic practice I would like research the accelerating effect the implementation of digital technology and algorithms has on an individual.
Artworks and Processes
Artworks and Processes
Artworks and Processes
Artworks and Processes
Here is a heading
Ich bin ein Textabschnit. Klicke hier, um deinen eigenen Text hinzuzufügen und mich zu bearbeiten. Ich bin ein Textabschnitt. Klicke hier, um deinen eigenen Text hinzuzufügen und mich zu bearbeiten.Ich bin ein Textabschnitt. Klicke hier, um deinen eigenen Text hinzuzufügen und mich zu bearbeiten.Ich bin ein Textabschnitt. Ich bin ein Textabschnitt. Klicke hier, um deinen eigenen Text hinzuzufügen und mich zu bearbeiten. Ich bin ein Textabschnitt. Klicke hier, um deinen eigenen Text hinzuzufügen und mich zu bearbeiten.Ich bin ein Textabschnitt. Klicke hier, um deinen eigenen Text hinzuzufügen und mich zu bearbeiten.Ich bin ein Textabschnitt.
Here is a heading
Ich bin ein Textabschnit. Klicke hier, um deinen eigenen Text hinzuzufügen und mich zu bearbeiten. Ich bin ein Textabschnitt. Klicke hier, um deinen eigenen Text hinzuzufügen und mich zu bearbeiten.Ich bin ein Textabschnitt. Klicke hier, um deinen eigenen Text hinzuzufügen und mich zu bearbeiten.Ich bin ein Textabschnitt. Ich bin ein Textabschnitt. Klicke hier, um deinen eigenen Text hinzuzufügen und mich zu bearbeiten. Ich bin ein Textabschnitt. Klicke hier, um deinen eigenen Text hinzuzufügen und mich zu bearbeiten.Ich bin ein Textabschnitt. Klicke hier, um deinen eigenen Text hinzuzufügen und mich zu bearbeiten.Ich bin ein Textabschnitt.
Glenn Brown
© Glenn Brown, Wild Horses, 2007
“Your eye does caress the surface of the painting as if your hand would be moving over the surface of it.”
– Glenn Brown
drawing as a starting point
grotesque yet fascinating figures
illusion of impasto
transcending time and pictorial conventions
mutation between stroke and line
movement
different visual surfaces
struggle between figuration and abstraction
Artists website → https://glenn-brown.co.uk/
"I like my paintings to have one foot in the grave, to be not quite of this world. For me they exist in a dream world, a world that is made up of all the accumulated images stored in our subconscious that coagulate and mutate when we sleep." – Glenn Brown
Glenn Brown is a British artist known for the use of art historical references in his paintings. Starting with reproductions from other artist's works, Brown transforms the appropriated image by changing its colour, position and size. His grotesque yet fascinating figures appear to be painted with thick impasto, but are actually executed through the application of thin, swirling brushstrokes which create the illusion of almost photographically flat surfaces.
The effect is powerful – often unsettling – creating an artistic language that transcends time and pictorial conventions. Brown sees these appropriations and oppositions as key to his approach. (Brown, 2022)
Let´s Make Love and Listen to Death from Above, 2017
The Music of the Mountains, 2016
Come to Dust, 2017
Le me ferry you out to sea ..., 2017
Interview
at Galerie Max Hetzler
December 1, 2020
on the occasion of the exhibition "GLENN BROWN - And Thus We Existed" at Galerie Max Hetzler, Berlin 2020; Courtesy of the artist and Galerie Max Hetzlercamera/edit: def-image.cominterview/edit: Zoé Barbier-Muelleron the occasion of the exhibition
watch → here
© image: def image; Glenn Brown,
Black Ships Ate the Sky, 2020
About the title of the show
(0:10 – 1:34) “Like many of the titles I use or borrow from another culture somewhere else would be in this case dance music. I was in the studio late at night painting and on the radio comes a track by a Chicago DJ called glimpse and his has this very melancholic sounding voice coming on occasionally in the track saying “and thus we existed” (...) and it just got into my head. (...) in some sense it means everything and nothing like a good title should I think - it should be open ended which I want by paintings to be as well.”
The meaning behind the layers
(3:38 – 4:30) ”The starting point for all of them is drawing. All the photorealist process that I had before is gone completely and this now allows me to make layered images. The layers are meant to describe the schizophrenic self, the idea that as individuals we are not wholly one thing. We are very bendable depending on who we are talking to, our environment, our culture. We change all the time. We are peculiar inner selves.”
About his painting technique
(5:21 – 6:54) ”In a lot of the new paintings I´ve made there are what appears to be very flat brush strokes that are made up of lots of very thin lines. The line derives in some sense from the hairs of the brush and for the more graphic paintings I started making the lines have become very and very fluid and they are the strange mutation between the painted brush stroke and the drawn line. I want the viewer to look and to move along these lines and curves because I don´t really do any straight lines in my painting. They are meant to be very baroque. But within that sense of movement you have to create different senses of texture and colour - so you have to have sharp points and dull points, smooth areas and detailed areas and areas you´d like to caress and areas you wouldn´t want to touch - and the painting should be made up of all of these different surfaces because your eye does caress the surface of the painting as if your hand would be moving over the surface of it.”
His drawings are displayed in frames he acquired stemming from the Italian renaissance.
Summed up by him in one sentence
(20:43 – 20:54) ”It is a struggle between 19th century figuration and 21st century abstraction to some extent as well.”
Key Takeaways
My greatest take away from looking at Glenn Browns work is his comment about visual textures and how he speaks about different emotions or characters of areas that can be introduced by varying the surfaces of the painting. It gave me ideas for a new direction that I could explore according to texture and more gestural elements in my painting technique.
His detailed swirls and the flexibility of his images that bend the body to an unforeseen extent are a great possibility to reflect on my own level of intensity of how fluid I want my shapes to become.
References
Brown, G (2022) Biography. Available at: https://glenn-brown.co.uk/biography/ (Accessed: 11.05.22)
Brown, G (2020) Glenn Brown - Interview at Galerie May Hetzler. Available at: https://vimeo.com/485168909 (Accessed: 11.05.22)