He chooses titles that play games, that aren’t clear at first. The visual elements in his paintings play games too. He purposefully chooses colours that don’t match (like reds and greens) because “visual clashes animate a painting. They create an exciting game.”
When asked about his heavy use of religious symbols, he openly concedes his indebtedness to religion and how it has influenced the history of painting, but, in the end, “religion is just an interesting game played by society.”
Later in the talk, Brown said a good painting makes your eyes play ping pong, causing them to bounce from one corner of the canvas to another. You can see this in A Sailor’s Life, an upside-down and distorted version of Van Gogh’s Marguerite Gachet at the Piano. Brown’s version has a random black dot near the tip of the hands for no other reason than to draw the eye and deflect it.
A Sailor’s Life, like War in Peace and the majority of Brown’s paintings, have objects “lost in space and time–a state I like my paintings to be in,” he says.
Brown is a British painter who does reproductions, meaning he takes other people’s work and manipulates it in some way. I immediately thought of the quote about how good artists copy and great artists steal other people’s work, and he even mentioned it during his talk. “That statement is obviously something I’ve taken to heart.” The audience laughed.
After showing a bunch of paintings done in green, he said, “I once heard green paintings are the least popular to buy. So I started making a bunch of green paintings. I always wanted to do the opposite of what was popular.”
This desire to be different permeates Brown’s work. He’s also done sculpture, and what are you not supposed to make sculptures out of, he asks? “Paint. So what do I make my sculptures out of? Paint.”
This mindset explains why he paints old men instead of young female nudes, and why, when he began painting in the 1980s, he did the opposite of what was popular at the time, which was expressionism. His work hangs in the balance between figurative and non-figurative, female and male, beauty and the grotesque (but mostly grotesque).
Brown loves the idea of tension (the glorious and grotesque; beauty & decay; visual tension, clash of different centuries and sensibilities, etc) and I can’t help thinking about how his own work embodies it. Painting upon painting depicts his credit towards the art that’s come before him (much “high art” from his time working in the Tate Gallery in London, but also “low art” from sci fi illustrators), and so he says of his work, “This is my way of saying I can’t have an original thought. None of us are really individuals.” He brings this up in the context of poststructuralism. And yet he wants to do something different than other artists. He himself alluded to this tension during the question and answer period, and I appreciated his thoughtful reflections on why he does what he does.
There is often so much mystique about artists’ creative processes and what they want to say, but Brown was candid about how and why he creates. He manipulates images on Photoshop first before sketching them out and painting, and he even showed us some of these preliminary images. This honesty extended to his articulation of what he wants his work to do: to make people look at paintings; to make people interested in art (his approach to doing this is to make people feel a bit awkward and unsettled). His role as artist is to provide entertainment, which he says shouldn’t be such a dirty word in our society.
His photorealistic surfaces and their ‘lost in time and space’ look are not that far from sci fi or fantasy novels, which also entertain us by helping us escape. And yet other paintings of his are very “this-worldly,” depicting everyday objects in a state of decay. He “just wanted to remind everybody of that,” he says when he showed us Burlesque. Although Brown is not concerned with beauty, he did let slip a couple times about objects being “beautiful in their decay.”
Although Brown’s paintings are interesting to look at, I’m not sure the idea of art as a game is ultimately that winsome for me. I think that would get old fast. I want art to do more than move my eyes in a visual game of ping pong. I want it to move me. Body, mind, and soul. To connect the visible with the invisible.
Brown wants to make people to look at art in whatever way they will notice it because “these paintings don’t exist until someone sees them.” This was a really fascinating comment. He’s not one of those painters who paint just for themselves and don’t care what anybody else thinks (if that’s even possible). He frequently discusses his ideas and sketches with others before launching full-speed into a project, and he credits his time at Goldsmith College in London for helping him see art as a collaborative process.
Art needs an audience. What will it say if it has no one to say it to? Even if the picture makes you escape, makes you cringe, makes you feel awkward or makes you feel death, Brown’s work has something to say about being human and being in tension. So . . . entertain me? Move me? Or both?