The painting Cancer has a candy floss-like expression which in this oversize format becomes almost grotesque. The glitter and festive sequins of the letters are a stark contrast to their message of illness and death. A fatal message usually treated with deadly seriousness is here presented in an almost playful fashion.
Written in giant letters across the ca. 4 metres wide canvas is the word “cancer”. The serpentine shapes of the letters have been applied with glitter and sequins. Large pieces of dotted and striped fabric in bright colours are glued onto a base of paint. Likewise, the frame is covered in padded fabric.
Corrosion of Perception could be described as a hybrid between a monster and a gargantuan cactus. The 2.5 metres tall creature is painted green and strewn with glimmering glass
shards. Its body is covered in large red apertures with pointed teeth stuck on. Inside some of the apertures is a staring eye, on the top sit six spiralling horns.
Corrosion of Perception too contains a mix of seriousness and play. The work looks both friendly and menacing, helpless and yet ready to devour you. The figure looks like a strange creature drawn from a far-out world. The work’s title emphasises this dissolution of the familiar. Our usual perception has been corroded and we are faced with visual surrealism in sculptural form, as if having stepped straight into a cartoon.
Anders Brinch's art in generalBrinch does not limit himself to one medium. In addition to painting he works with sculpture, drawing and installation. Not as delimited media but in a manner that brings about new combinations, expressions and forms. The artistic freedom to manoeuvre and pave the way for new expressions is essential.
Brinch explores the banal and trivial mixed with great themes such as life and death. Often employing his own life as a catalyst, he considers it a challenge to work on subjects that are heavy or bordering on cliché.
PAINTING IS BACK
Was it ever gone? On numerous occasions in the history of art and culture, painting has been declared “dead” in the sense that it was held that painting could no longer be renewed. But when speaking of the death of painting, this by no means meant that artists stopped painting but rather that painting in art theoretical circles was not regarded as the art form that would offer new insights. That painting did not hold an inherent ability to influence our conceptions but that this was reserved other, newer media.
Today painting not only takes place within the frames of the canvas. To put it differently, what goes on within the frames of the canvas is not only painting. Thus an important blurring of the boundaries between the different categories of art has taken place.
The work Cancer, for instance, contains not only paint but also sequins, glitter and fabric. Likewise Corrosion of Perception is not a sculpture in the classical sense. It is painted polystyrene, sprinkled with glass particles – in contrast to traditional sculptural materials such as marble, clay or bronze.
Brinch’s approach to art is symptomatic for art’s premise today: It exists in a melting pot of genres and media where, to put it simply, anything goes.