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Phyllis Bramson
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The Secret Life of People Who Care 2011
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I am perfectly comfortable with the description that my paintings project a capricious irritability and deception for I want them to be willfully fantastic and edgy. On the surface they provide a fictitious backdrop for eroticism; believing that painting still has an aura, and that it can be a repository for tenderness and occasionally originality and intoxication. For me, painting reflects the ambiguity of the every day, and therefore can be redemptive and subversive, gorgeous and disgusting - something to be celebrated and subject to suspicion as a marginalized site.
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Between the Falling in Love Parts 2013
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It is the mental, philosophical as well as the visual aspects surrounding painting that enlightens me. Double coded work, which uses abstracted decorative motifs fused with imagery that asks for a metaphorical rather then rational reading. Provoking and inviting speculation, my paintings are fairy-tale-like, projecting notions about ‘complicity’ and ‘good’ behavior
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What is One's Real Life? 2006
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Paramours and Mischief (at night) 2011
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Paramours and Mischief (in the afternoon) 2011
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Painted concoctions that become phantasmagoric shifts about desire, art, culture, success, failure, faith and seduction; the work ruminates about the nature of “body trouble” and how it affects ones own existence.
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Everywhere it Takes Me (remorse must wait) 2011
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