A careful concoction of ‘push’ and ‘pull’ Glenn Brown Rochelle Steiner and Alison Gingeras 1 December 2011 Tate Etc. issue 15: Spring 2009
On the eve of Glenn Brown’s solo exhibition at Tate Liverpool, Rochelle Steiner and Alison Gingeras talk about the enduring appeal of the painter’s work.
ROCHELLE STEINER: Over the years it seems that some key aspects of Glenn Brown’s practice – particularly a type of abstract portraiture and science fiction imagery – have started to morph while simultaneously becoming more pronounced in their own right. On the one hand, there are paintings such as Filth 2003 and Dark Star 2003 that draw on the history of portraiture, but are presented with the most surreal approach, and on the other hand the strange, abstract, often truncated imagery resembling heads, feet and even planets, such as Deep Throat 2007 and It’s a Curse, It’s a Burden 2001. It appears that these poles of his work, which are of course intrinsically linked, are moving into their own orbits.