Initially, the colour of the painted parts was that found in their salvaged state, most often, the palette of Detroit automakers. Later on Chamberlain has had the steel painted, on both sides, mostly in simple positive and negative figures ...
John Chamberlain has never wanted his art to be restrained by a preset goal or the enactment of a specified task. While his procedures are clear, they are also excessive and impure. (Excerpts from Klaus KERTESS, Chamberlain of Beauty, New York, 2003).
Painted with the romanticised aura of the past and of traditional, figurative painting, Cris Brodahl
(1963, Gent)’s works present exquisite and bizarre arrangements. “Drawing from Surrealism as a departure point, Brodahl’s paintings are pieced together as stylised motifs, irrational and dream-like icons”.
Cris Brodahl’s ‘portraits’ are both seductive and monstrous. Labyrinthine hairdos, touching patterns of entwined hands and a single pair of high heel shoes reveal a sensuous physicality. Elaborate still lifes including a heavy table cloth, meticulous parts of a skeleton and a reclining female head with an all-seeing eye suggest hidden and undescribable forces at work in our daily worlds. “Through her amalgamated forms, Brodahl envisions an image of fractured beauty; its placid but very controlled fabrication belying psychological unease.
In the new series of paintings, Brodahl used a ground layer of “electric blue” paint. Although most of this colour gets covered afterwards by the different layers of paints and imagery, Brodahl leaves open very small fragments within her composition that reveal the sharp blue at unexpected occasions.
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