Brianna Brescka
The way I make art is inseparable from my actions as a life-long gatherer. I am continually drawn to objects and materials for the inherent interest and conceivable potential they possess in their unrefined, found forms. Utilizing elements that span all levels of traditional hierarchy and conceived value, I freely combine, destroy, modify, and explore materials collectively, resulting in work that is a direct, personal reaction to the possibilities and limitations of each medium. Combining the domestic and the industrial, the discarded and the coveted, I make work that not only references a familiar past, but invites the viewer to question the nature of their instinctual reactions, as well as their fundamental relationship to the material world.
Manipulating the audience’s familiarity with certain places, events, and materials grants my work access to a level of vulnerability and curiosity that compels further interaction and investigation. This interpreted comfort, combined with continual elements of humor and absurdity, aids in disarming the audience’s apprehension to engage with my work, regardless of format. Through the utilization of manic enthusiasm and uncouth humor, my performative work exists within an unusual intersection of intimacy and turbulence. By providing the audience with information that is insufficient, inaccurate, or incomprehensible, they are faced with the option to pursue the unknown. Events that celebrate triumph or assure subsistence are ones that I am drawn to explore, and that people are continually willing to invest themselves in. Whether it’s the excitement of an agility course, or the enticement of a hot meal, regardless of the apparent level of legitimacy, others are willing to immerse themselves in chaos, if they are incentivized through appealing enough means. The activation of environment, and unpredictability of outcome that directly engaging with an audience provides, elevates my inclination to experimental methods to an entirely different level. The work becomes collaborative not only between myself and a potential partner, but between myself and the audience that chooses to engage.
The way I make art is inseparable from my actions as a life-long gatherer. I am continually drawn to objects and materials for the inherent interest and conceivable potential they possess in their unrefined, found forms. Utilizing elements that span all levels of traditional hierarchy and conceived value, I freely combine, destroy, modify, and explore materials collectively, resulting in work that is a direct, personal reaction to the possibilities and limitations of each medium. Combining the domestic and the industrial, the discarded and the coveted, I make work that not only references a familiar past, but invites the viewer to question the nature of their instinctual reactions, as well as their fundamental relationship to the material world.
Manipulating the audience’s familiarity with certain places, events, and materials grants my work access to a level of vulnerability and curiosity that compels further interaction and investigation. This interpreted comfort, combined with continual elements of humor and absurdity, aids in disarming the audience’s apprehension to engage with my work, regardless of format. Through the utilization of manic enthusiasm and uncouth humor, my performative work exists within an unusual intersection of intimacy and turbulence. By providing the audience with information that is insufficient, inaccurate, or incomprehensible, they are faced with the option to pursue the unknown. Events that celebrate triumph or assure subsistence are ones that I am drawn to explore, and that people are continually willing to invest themselves in. Whether it’s the excitement of an agility course, or the enticement of a hot meal, regardless of the apparent level of legitimacy, others are willing to immerse themselves in chaos, if they are incentivized through appealing enough means. The activation of environment, and unpredictability of outcome that directly engaging with an audience provides, elevates my inclination to experimental methods to an entirely different level. The work becomes collaborative not only between myself and a potential partner, but between myself and the audience that chooses to engage.