Today we’d like to introduce you to Phyllis Bramson.
Phyllis, please kick things off for us by telling us about yourself and your journey so far.
I didn’t choose to be an artist, it chose me. From the time I was young I really wasn’t interested in anything else. Therefore, nothing attached itself to me. My parents generously accommodated me by turning a small sun room into a painting studio. However, that did not keep me from ruining the rugs in the living when I was strong armed into doing the dance decorations for my high school prom, which I didn’t have a date for.
Can you give our readers some background on your art?
I use images that are infused with lighthearted arbitrariness and amusing anecdotes about love and affection, in an often cold and hostile world. Mostly, I am making work that percolates forth life’s imperfections: that doesn’t take decorum all that seriously, refusing to separate matters of taste from larger questions about “good behavior.” The paintings are reactions to all sorts of sensuous events, from the casual encounter to highly formalized exchanges of lovemaking (and everything in between). Miniaturized schemes, which meander between love, desire, pleasure and tragedy; all channeled through seasonal changes. Burlesque-like and usually theatrical incidents, that allow for both empathy and “addled” folly, while projecting capricious irritability with comic bumps along the way.
The narratives in my paintings remain incomplete, never really telling a coherent story and thus resemble abstracted tropes concerning romantic folly and loss. They are used as a repository for feelings, which often collide and intermingle between the personal and at the same time, propose a story that doesn’t tell the ending. Paintings that wobble between private subjective values, social concerns and conceits, self-subscribed metaphors, melancholic loss and cliché. It is the materiality, the philosophical as well as visual aspects of making a painting that that drives my work. The finished works become a site for sensuous discourse pushed into a precarious state that the viewer can get lost in. Frivolous appearing, albeit often over blown concoctions all intoxicatingly enveloped in my desire to project beauty.
Any advice for aspiring or new artists?
For some reason I have always been consistent in terms of not taking seriously if my career was hot or cold. It has been both. The important thing, which I am sure most artists say, is to just keep going no matter what. That the most important viewer is one’s self. Making art is a long term commitment fraught with pleasure and peril, so get used to it!!! I am now considered a “mature” artist, and at this point the studio is a difficult place but it is also where I get the most satisfaction out of a life lived. Where many of my non-artist friends have retired, I have not.
What’s the best way for someone to check out your work and provide support?
- Website: phyllisbramson.com
- Email: email@example.com
- Instagram: @phyllisbramson
Tom Van Eynde – Portrait