Nell Brookfield
Nell Brookfield
Humans Of Course are Animals
February 10 - April 7, 2024
Concurrent with and overlapping 'In the pale moonlight', is our solo exhibition with Nell Brookfield, 'Humans of course are animals'. This is Brookfield’s third show with SEPTEMBER, and her first solo exhibition at the gallery. The selection of works span recent periods in her practice, demonstrating shifts of subject and scale sensuously painted in rich fields of pigment.
Brookfield is known for her elaborate aesthetic of hyper chromatic and patterned compositions of figures in close proximity. She depicts animals and humans in relation to one another with equal subjectivity, an unphased question of interchangeability. Through focusing on repressed psycho-emotional states, Brookfield aims to destigmatize fears, phobias, and taboo subjects.
While her palette is brighter than life and the circumstances she paints are often “unreal,” she is drawing from “Intense observation of humans around me, and attempting to offer a mirror, by creating arresting images intended to feel at once both familiar and unsettling.” She collects fragments of the external world and exposes interior worlds with the incongruous combination of impartiality and care. She is both the acute observer and the empathizing subject.
Humans Of Course are Animals
February 10 - April 7, 2024
Concurrent with and overlapping 'In the pale moonlight', is our solo exhibition with Nell Brookfield, 'Humans of course are animals'. This is Brookfield’s third show with SEPTEMBER, and her first solo exhibition at the gallery. The selection of works span recent periods in her practice, demonstrating shifts of subject and scale sensuously painted in rich fields of pigment.
Brookfield is known for her elaborate aesthetic of hyper chromatic and patterned compositions of figures in close proximity. She depicts animals and humans in relation to one another with equal subjectivity, an unphased question of interchangeability. Through focusing on repressed psycho-emotional states, Brookfield aims to destigmatize fears, phobias, and taboo subjects.
While her palette is brighter than life and the circumstances she paints are often “unreal,” she is drawing from “Intense observation of humans around me, and attempting to offer a mirror, by creating arresting images intended to feel at once both familiar and unsettling.” She collects fragments of the external world and exposes interior worlds with the incongruous combination of impartiality and care. She is both the acute observer and the empathizing subject.
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SEPTEMBER