Graphite, coloured pencil, wax pastel, and collage on paper
26.4 x 20.3 cm
Jason Brinkerhoff describes his work as ‚Äúconstrained by a single form ‚Äď the female.‚ÄĚ Anyone with any familiarity with the history of western art will recognise this ‚Äėconstraint‚Äô as an engagement with western art history itself, given its inexhaustible fascination with the female nude. Brinkerhoff ‚Äôs women seem aware of this too: composed of allusions and nods to art historical forebears, they create a kind of warped taxonomy of female representation. De Kooning‚Äôs slithering women collide with Klimt‚Äôs demure nymphs; Picasso‚Äôs deconstructed physiognomies with Toulouse-Lautrec‚Äôs spiky bohemians.
Graphite, coloured pencil and wax pastel on paper
25.4 x 17.8 cm
These are nudes not as scientifically observed subjects, as in a life-drawing class, but as receptacles for art-historical memory, that might imply a sort of exhaustion, a sense that the nude itself has nothing more to tell us. On the other hand, Brinkerhoff ‚Äôs works are charged with an excitement in making, and an involvement with materials, that gives his works a sense of perpetual freshness. His drawings‚Äô dynamic motions ‚Äď the swooping lines of charcoal and fuzzy clouds of colour ‚Äď are used not to describe but to celebrate the immediacy of the drawn mark. And when, as in Familiar Faces, his works combine a variety of approaches (loopy graphite, scribbled pen, fat and dark wax pastel), Brinkerhoff ‚Äôs works transcend their obvious allusions ‚Äď those familiar faces ‚Äď and become giddily present and alive.