Picture
Picture

 Artist Profiles

 

 April / Farrell Brickhouse - Paint as Paint

Rectangle

Farrell Brickhouse has shown his art in numerous exhibitions in and out of New York since the late 70s which included multiple solo exhibitions at the Max Protetch and Pamela Auchincloss galleries. In 2000 he received a Pollock-Krasner grant and in 1983 a National Endowment for the Arts.  Recently his work was included in the Nature Abstracted exhibition at the Painting Center which was curated by Emily Berger whose own work was profiled in last month’s issue of Abstract Art Online.

Surface and texture are the paramount elements driving Farrell Brickhouse’s esthetic. Color is entwined with and ultimately driven by it. Notice how it is woven through the texture even where contrast and distinctions of hue are subtle.  Brickhouse is extremely adept at ‘finding’ the color within the paint without explicitly defining it. Color is hinted at or constructed through ‘clouds’ of varying hues.  Even a very intense pink, as is found in the painting U, is built from a whole host

Picture

Heaven Headed, 2005, oil on canvased panel, 10.125 x 13.5 inches

Picture

Atop St. Helena, 2003, oil on canvased panel, 20.5 x 22.5 inches

Picture

55, 2005, oil on linened panel, 15 x 17 inches

and range of pinks. The effect, as driven by the paint handling, makes the color that much more alive and vibrant.

Form is likewise almost purely rendered by the application of the paint. In some pieces it is so buried that you really have to search for it.  In others, such as Heaven Headed, where the forms are linear and more straightforward, the surface treatment establishes an almost sculptural quality. True, color also plays a part in the definition. But the physicality of the paint handling is what gives the forms a somewhat animated ambiance and also plays an important role in determining spatial relationships.  While color and contrast are more engaged in a piece such as Atop St. Helena, the woven texture of the paint is additionally important in delineating space. In another piece, 55, surface takes exclusive focus due to the otherwise muted colors and contrast.

Another significant aspect to these paintings is their diminutive dimensions. Size offers an interesting contrast to the overtly muscular paint handling. It’s as though Brickhouse has 

Next Page

Rectangle

All Images are Copyright  2005 of  the individual artists / text Copyright 2005, Abstract Art Online. All rights reserved.