![]() Brown came up through the the YBA, or the Young British Artists, a collective in late '80s-early '90s London, which reared other artist superstars like Damien Hirst and Helen Chadwick through the Goldsmiths fine art program at the University of London. The surface of his work is one of the ways Brown departs from the Old Masters he often mimics. ![]() I’m trying to engage the person looking at it to think, how is that made?” ![]() ![]() “You get this idea of this trompe-l'oeil notion of paint and brush marks, lots of trickery is going on. “I use very small amounts of paint and I paint very slowly, building up layers of paint,” Brown tells me in the gallery. ![]() The varnish has certainly helped give the painting, like all the paintings in this show, an impossibly smooth finish, like polished marble - the bristly grooves of a paintbrush nowhere in sight. “I haven’t seen this painting since it’s been varnished,” he says to Hartz, bending toward the massive (about nine by six feet) black and white oil painting “This Island Earth,” Brown’s dark take on the canonical painting theme of the assumption of the Virgin Mary into heaven. ![]()
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