Artist Lauren Brevner’s Paintings Have Struck a Chord in a Digital Age

Lauren Brevner’s art is done for Instagram. One demeanour during her comment and, usually like her 30,000-plus followers, you’ll be prone to wizz in on a subjects she paints: glamorous portraits of women held in moments of low contemplation. There’s something deeply special and fragile about a works that we can’t utterly put your finger on, and it’s scarcely unfit to corkscrew past her posts though wanting to know more.

Lauren Brevner

Peel behind a layers of Brevner’s technique, and a work starts to exhibit itself: a BC-born artist uses birch and maple planks instead of a normal canvas, lending her work an roughly 3D effect. Brevner does not so many as request oil, acrylic, and creosote to her pieces as she adorns them. Beyond simply portrayal her ladies, she dresses them in bullion and china root and uses Chiyogami—a hand-stenciled or printed paper enriched with patterns taken from normal Japanese imagery—to amplify clothes, accessories and backdrops. The outcome of Brevner’s alchemy mostly fools viewers into desiring her works revolve around eminent total in history. It is precisely her palette choices: abounding rubies and burgundies, gilded yellows and several shades of champagne—which benefaction a expel of empresseses, goddesseses or high priestesses hailing from an unknown, decadent age.

Although Brevner is tight-lipped about who her royal subjects are, she does confess to a fact that her artistic epiphany was flog started by an epoch of excess. “The impulse that came to me after we found stacks of aged Vogue magazines from a ’80s in my mom’s groundwork was overwhelming,” Brevner says from her home in Vancouver. “Everything was so vast and costume-y behind then. Even nonetheless we had technical art books and anatomy books that helped me know a tellurian figure, it was a heated makeup, oversized wigs and all a bony cuts on a hair in selected conform publications and ads that unequivocally did it for me.”

The rush of saying super ladies of a ’80s such as Isabella Rossellini, Cindy Crawford, Carol Alt, and Gia Carangi, photographed by mythological conform photographer Richard Avedon, encouraged Brevner to pierce to Osaka for a brief duration of time so she could work alongside Japanese conform engineer Sin Nakayamal. The knowledge lured her serve into a investigate of femininity, exemplary notions of beauty, and atypical and resourceful runway fashion. “I still keep tabs on designers like Yohji Yamamoto, Gucci and Alexander McQueen, though Kenzo’s work unequivocally blows my mind,” she says. In fact, it was Kenzo’s tumble 2012 collection that “lit a fire” in Brevner and continues to impact her work. “The approach they churned African motifs with Japanese kimonos and exemplary Asian fabrics has desirous me for years.”

While Brevner is clearly energized by a runway, it’s her background—her maternal grandparents are from Japan and consanguine grandparents from Germany and Trinidad—that influences her affinity for doubtful combinations. “Blending cultures is something I’ve been doing given we was young,” she says. “Its instinctual.” Any art groupie will be means to pinpoint flecks of Gustav Klimt, Polish Art Deco painter Tamara de Lempicka and a iconic ’80s artist Patrick Nagel (the male obliged for Duran Duran’s Rio manuscript cover) in her work, nonetheless Brevner, who is proudly self-taught, says she frequency looks to other artists or their work.

“I had this vast onslaught being a educated artist. we might not be partial of a internal Vancouver art scene, and it’s tough to be supposed here, though I’ve had time to comprehend my possess vision.” That prophesy is spasmodic desirous by her brother, Matt, a rapper with whom she shares studio space. When she isn’t listening to podcasts such as BBC’s Woman’s Hour or song by Nina Simone or Dean Martin, Brevner typically paints to a sounds of her sibling’s raps, accompanied by live violinists, piano, and synth players. One of her many distinguished pieces is a reverence to her grandmother, who upheld divided in 2015. “I remember visiting her on her genocide bed and we suspicion she looked infrequently beautiful. That night, we had a dream of a lady laying in a bed of roses and a flowers were done in a approach that looked like a coffin. That thought of beauty in spoil done me emanate Tsubaki [the Japanese word for chrysanthemu, a flower that represents genocide in Asian culture].”

Up subsequent for Brevner is a review of exhibits that involves showcasing her work around a globe, from Berlin’s Johanssen Gallery to a Mesa Contemporary Arts Museum in Arizona. She also participated in this year’s SCOPE Art Fair in New York City, and continues to qualification pieces for her ever-demanding Instagram fans-turned-clients. “It’s a vital online portfolio,” Brevner says of a middle obliged in vast partial for rising her career. “One hundred percent of my progressing clients usually came from Instagram. Most of them still do.”

By Elio Iannacci.

Art, Featured, Lauren Brevner

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Posted by on May 29 2017. Filed under Design. You can follow any responses to this entry through the RSS 2.0. You can leave a response or trackback to this entry

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