Brooks’s portrait of Piet Mondrian was drawn from a photo taken in 1933 at Mondrian’s studio in Paris. This image of Mondrian seems strangely contemporary as it is the type of picture we’d expect to see in a tabloid magazine today: it’s not just the artist or his work which is of interest, but his lifestyle. Mondrian’s working space is like a temple to modernity, reinforcing the glamorous image of a modern master. Artists often make reference to art historical works, but by drawing the artists themselves Brooks tries to connect to and understand this history in a more personal way: “I’m not really interested in the notion of the artist as superstar in these images but in their more personal struggles as artists, making stuff in the private confines of their studios or performance spaces.”