LOS ANGELES, CA.- Luis De Jesus Los Angeles is presenting John Brooks: Thinking About Danger, the artists first solo exhibition with the gallery, on view from July 23 through September 3, 2022.
The paintings in Thinking About Danger combine images and inspiration from art history, cinema, literature, music, and the artist's personal life to explore longing and remote desire, empathy and connection. The richness of experiences as well as a kind of "existential openness" is alluded to in the exhibitions title which is taken from a painting of the same name and borrows lyrics from the Marianne Faithful song Times Square. Their subjects are our lives: what is and what can be, the known and the unknown. These are not ordinary paintingsthey are meant for all of usand the reading and understanding of them need not be ordinary. In truth, they invite us to lose ourselves in their openness and, as the Sufi poet Rumi enjoins, come out of the circle of time and into the circle of love. These and other subjects are discussed below by Brooks in his own words.
I have always been primarily moved by connections, and what I call emotional resonance. Above everything else, its that that I care about. In addition, Ive always had disparate interestsIm a painter, poet, and a former competitive golfer with a political science degree. About mid-year last year, I began to understand that I could use and combine these interests in my work and make better work as a result. Its a sort of collage approach; collage has always been a part of my artistic practicemy painting practice changed tremendously in 2018 when I began to use paper collages as the basis for my compositions. Im not currently making any collages but am still using this mindset. I found great strength and an almost limitless number of ideas in using this approach, and it also utilizes my knowledge and memories and creates something that feels entirely new.
For example, Im quite sure that Lil Nas X and Stefan Zweig and Thomas Mann have never been presented togetherbut why shouldnt they be? Painting allows me to imagine alternative realities. Each man brings cultural weight with them, and the combination feels (to me) exciting, unexpected, electric. This is why I use a lot of found imagery and known people. I dont think of my work as celebrity portraits or even relying on celebrityeach person is chosen for specific reasonsbecause they have meaning to me, or meaning in our culture. Theres power in that, and power in using that cultural weight to create something new, or to shift the conversation in a direction that interests me. The figures, subjects, and scenes are touchstones and nodes of connection, people and things that I carry with me, but I am ultimately interested in their realnessinasmuch as I can access itrather than the personas.
I recently heard a quote from the singer songwriter Joe Henry, who said that as artists, its never our job to dispel mystery. I think thats true. Art does hold answers, but theyre slippery, hard to grasp, and maybe ultimately knowable. Thats what makes art, or works of art, compelling to me. When I am thinking about my compositions, I like the idea of creating an image or a scene that seems like it might start to make sense, perhaps narrative sense, but then disintegrates the closer one gets to getting ahold of an answer. I dont want the works to be answers, I want them to be hints, or even scents. I hope they contain multitudes, exhibit a thoughtful exploration and depiction of my Queer communityparticularly Queer artistsas well as allies. Ideas related to impermanence, the fragility of existence, the complexities of identity, are all explored. I think theyre also, in a way, an antidote to the rigidity of our times, and the rigidity that so many people seem to crave. Lifeexistenceisnt like that! It is, in so many ways, unknowable, and thats ok. Its beautiful and even comforting. I hope the works contain all of thatcomplexity, humor, irreverence, poignancy, tenderness, sadness, sexiness.
The paintings are also an exploration of Queer Time (written about by Garth Greenwell in the New Yorker). Im 44, and I grew up at a time during which I didnt feel entirely capable of embracing my Queerness (even that word is a new thing). I feel like Im still learning every day, reaching backward and forward, finding connection with anyone I can, anyone whose head and heart seems to mirror with my own. The works are intentionally becoming more Queer, which is a reflection of my self, but that doesnt mean their relevance narrowsI think its the opposite. Because I am expanding, the work is expanding. Because it encompasses more things, that has to mean it has more relevance to more people. Paradoxically, the weirder and more specific it becomes, the wider it becomes.
As always, the paintings are also about art, about painting. Colors, themes, and even images are inspired by luminaries like Max Beckmann, Ernst Ludwig Kirchner, RB Kitaj, David Hockney, Peter Doig, Markus Lüpertz, and Noah Davis. Salman Toor, Anthony Cudahy, and Doron Langberg, as well as others, are both friends and sources of inspiration and conversation. For a long time, I hadnt really thought of myself as someone who thinks consciously about colorbut thats not true, of course. One of the takeaways from the response to my [previous] exhibitions We All Come and Go Unknown and I See This Echoing was how much people were intrigued by my use of color.
Ive tried to push that even further this time. It has also been nice, as well as challenging, to return to painting after drawing for many months. I love drawing, and will continue to do itand there is also a lot of drawing in my paintingbut painting is an altogether different beast, because of the nature of the materials. Oil paint has its own desiresits alive, in a wayand the dynamic is so different from drawing. When drawing I feel in control. Painting is a matter of finding control where you can, but letting the paint control when and where it wants. Knowing the difference between the two is obviously key, and only comes from practice and experience. And long hours in the studio. When it doesnt work, it can be so frustrating, but when it works, it is rewarding and glorious.
There are also themes of doubleness and duplicity in the works. Sometimes it is quite literaldoubled or twinned figuresand other times it is subtler. This relates to this idea of complexity of identity, and also the nebulousness of truths. Judy Barton is Madeleine Elster is Kim Novak, I am a painter / poet / gay man / Kentuckian / former Londoner / poodle dadall of these things are true, but they are, in a way, temporary truths. I also loved that worddangerit seems we are surrounded by it. It comes from everywhereourselves, the skies, the earth, our past, our future, the main streets of our small towns, the halls of Congress. And its very real, but then it can also be unreal. When I first heard (at age 16) Marianne singing those words, I thought the danger was me, my sexuality, or the path I would have to take to either pursue my true nature or the path I would have to take to shirk it. Now that Im older, I know that for me the danger is in not pursuing my true self, as an artist, a Queer person, a human being. JB
A visual artist and poet, John Brooks (b. 1978, Frankfort, Kentucky) explores themes of identity, memory, death and place while considering questions of contemplation, the expression of emotion, the transformative power and emotional resonance of particular experiencesand what Max Beckmann described as the deepest feeling about the mystery of being."
Brooks is a native of central Kentucky. He studied Political Science and English literature at the College of Charleston, South Carolina, with continuing education in art at Central St. Martins and the Hampstead School of Art in London, England. His work has been exhibited in the United States and Europe and is held in the collection of 21C Museum Hotels, Grinnell College Museum of Art, and numerous private collections. Brooks' poetry has been published in Assaracus, East by Northeast, and Plainsongs. Over the last two decades, he spent several years in London and Chicago and has been based in Louisville, Kentucky, since late 2013. In 2017, Brooks launched Quappi Projects, a Louisville-based contemporary art gallery focusing on exhibiting work reflecting the zeitgeist, where he has curated over twenty-five exhibitions.