A. Will Brown

From this Author

Fan Mail: Rachel Debuque

Rachel Debuque. Cacti-Smash (Performance and Installation), 2013; paint, wood moon cacti, gloves, plastic goggles, test tubes, knife, glass bowl, watch glasses plaster cast moon cacti, plaster cast cat sticks, cast plastic cat stick, aluminum, plastic roofing, extension cords, power strip, fake plants; 8’ x 10’ x 8’ feet. Courtesy of the artist.

Rachel Debuque works with myriad subjects and forms. In her work, installation, performance, video, and sculpture collide with themes of domesticity, the still life, and the eccentricities of both individual personalities and physical spaces. Through all of this, her oeuvre coheres around a central concern: the visual re-codification and conveyance of memory through spatial sensitivity. Debuque’s Cacti-Smash (2013) is an installation-based performance that features two[.....]

Fan Mail: Jeff Depner

Jeff Depner. Reconfigured Grid Painting No.18, 2012; acrylic on canvas; 50” x 43” inches. Courtesy of the Artist.

Jeff Depner’s commitment to one medium, in this case to painting, is rare in the current climate, in which artists work across increasingly varied platforms and often combine mediums. Depner’s paintings simultaneously explore paintings’ storied and experimental past and burgeoning future. Most of his richly layered acrylic works systematically investigate the possibilities of the medium by following a similar internal logic that in turn gives[.....]

Fan Mail: Cody Arnall

Cody Arnall. Makeup Case, Foosball Parts, Telephone Wiring, Lamp Post, Light Fixture, Glass Light Covering, Electrical Wiring, Paint, Sawdust, Wood Glue, 2010; makeup case, foosball parts, telephone wiring, lamp post, light fixture, glass light covering, electrical wiring, paint, sawdust, wood glue; 3’8” x 1’6” x 1’6” feet. Courtesy of the artist.

Cody Arnall uses his unique vision to approach the mundane and utilitarian objects that surround him. By seeing the potential in these objects, Arnall transforms latent possibilities into new combinations that simultaneously approach a mysterious beauty and a perceivable yet unnamed functionality. Much of Arnall’s reconfiguring has to do with bringing a distinct “energy, force, and movement” (his words) to the everyday objects in his[.....]

Fan Mail: Liliana Farber

Liliana Farber. Nighthawks, #16, 2008; photography, archival ink print; 30 x 20 cm. Courtesy the artist.

It’s hard not to get lost in the rich colors, abstract tensile lines, and intense shades of gray in Liliana Farber’s photographs and prints—and for that matter, in the endless rabbit hole of mouse clicks one of her web-based works elicits. Farber works in a series of potentially unrelated mediums, and in some cases, structures: video, ink on paper, photography, a website, and image manipulation[.....]

Fan Mail: Senan Lee & Pansy Aung, a.k.a. Salt ’n’ Pepper Squid

Senan Lee & Pansy Aung. The Diving Bell, 2013; Recycled cardboard; 80 x 80 x 80 cm. Courtesy the artists.

Senan Lee and Pansy Aung make up the duo Salt’n’Pepper Squid, and they specialize in making innovative and often humorous advertising campaigns that range from magazine spreads to promotional videos. Their recent evolution from individual creative producers to collaborators—in June of this year—has inspired new ways of thinking that reach beyond the campaigns the duo are accustomed to making. In September, they came up with[.....]

Fan Mail: Darren Jones

Darren Jones. Deeper Understanding, 2008; Broken computer, additional and rearranged keyboard keys; 11 x 17 x 11 in. Courtesy the artist.

Darren Jones works across a wide range of forms and subjects, often displaying an adroit sense of humor in his installations, sculptures, digital images, and text based artworks. However, Jones’s work is not only a series of well-pitched interventions and re-arrangements; there is a poetic and delicate seriousness that complicates much of what he makes. Deeper Understanding (2008) turns his old broken laptop, stuck in[.....]

Fan Mail: Sarah O’Donnell

Sarah O’Donnell. A Visible Night, 2013; Interior image of site specific installation at abandoned Moran energy plant, Burlington, VT, colored silks, rotating LED light, light board; dimensions variable. Courtesy of the artist.

In Sarah O’Donnell’s work, cinema, the diorama, and immersive installation come together to give shape to her fascination with and investigation of human memory. O’Donnell is specifically interested in the places and characters through which memories are made. She often re-creates memories through her own ever-evolving methods of mise-en-scène and editing. In this way, her works all seem to reside somewhere between explaining and further[.....]