profileJohn BrownStudio 262“One of the most solidly gifted, reflective painters to emerge inRichard Rhodes asToronto.” That’s what art and architecture critic John Bentley“paint [that] sits up likeMays (Globe & Mail, 1<strong>99</strong>5) has said about artist John Brown,coloured meat (Torontoa tenant at <strong>401</strong> <strong>Richmond</strong> since the Fall of 1<strong>99</strong>6. His lightfilledLife, December 1<strong>99</strong>6).second floor studio is the quintessential artist space: John reinforces theboldly coloured paintings stacked on milk cartons and tubes notion that his artworkof paint littered everywhere. I’m thrilled to be here, soaking is essentially organic, “Iup the creative atmosphere - and love the smell. So, when never think of the images as abstract. They are still figurativeJohn opens up a window to let the paint fumes escape, I cry and refer to the body at all times.”out, “No!”Intriguing to me is the fact that John works on many of hisJohn is a quiet man with a shy smile. He grew up in Garson, a paintings simultaneously. He never starts with a drawing, butmining town near Sudbury and came to Toronto’s Ontariorather, works directly with his subject matter. “I’m sort ofCollege of Art for Experimental Arts (Painting) in the late peripatetic when I paint. I wander from one image to theseventies. By 1<strong>98</strong>1 he had graduated from the acclaimed art next.” Many of the works are painted over while others sit forschool and had also completed a Bachelor of Fine Arts at the months (or years!) while he comes to terms with them. AUniversity of Guelph.vague dialogue exists between artist and art, like a strangeFrom the start John’s art was a hit. Famed gallery owner cocktail party where the images, like sentient beings, mutateCarmen Lamanna spied his work at OCA’s Gallery 76 and and pulse with life. “A lot happens for me peripherally,” headmits. “The one further away may be workingon me more than the one I’m on.”John isn’t into complex colour theory. Heperceives paint as a vehicle, a material to conveythe countless images that inspire him. “Thepaintings areimages on theedge of myconsciousness,” hereveals. “Eachmark is amnemonic deviceincluded it in the now historic Monumenta (1<strong>98</strong>2) showto help mefeaturing Toronto’s hot young artists. He remained with remember the image.”Lamanna, a friend and major influence on his art, until the Not surprisingly, John is fascinated with the motivation behindlatter’s death in 1<strong>99</strong>1.art-making rather than the art itself. “I was always moreJohn’s early figurative imagery started breaking down by 1<strong>98</strong>8 curious as to why someone made an image than what was– a transition from representation to abstraction that occurred made. That’s the crux of the matter with me when it comes toaccidentally. “I didn’t like what I had done,” says John, “so I creativity. I’m not interested in art for art’s sake.” Thus,scraped the surface and liked how it complicated the image.” despite his claim that, “there’s no research - often things areThis method of layering and scraping, what Bentley Mays has just there,” I see many influences in the room: art historical/called an “obsessively careful construction of the painted fine art texts and other literary works like Rabelais’ Gargantuasurface,” deepens both figure and ground, masking and and Pantagruel, strewn on the sofa; and scientific imagery,revealing at the same time. “Now it’s the only way for me to anatomical illustrations and a Royal portrait by Velasquezarrive at the image I want.”tacked to the walls. I also learn that he’s a voraciousBut make no mistake, these seemingly abstract images still computer/techno reader who’s preoccupied with technology’spertain to the body - often what’s inside the body. Blotches of role in the disappearance of the body.red, yellow and pink bordered by black, white and gray recall Unlike his highly expressive, corporeal subject matter, John’sblood, bile and flesh. The work is at once sensual, carnal and approach to art-making is emotionally-detached. “I’m not in avisceral, and has been described by Canadian Art editorContinued on Page 5page 4
WeSawYou...Now Magazine (September 19<strong>98</strong>) spotted John Scott (Studio397) at the 19<strong>98</strong> Toronto FilmFestival. John was the subject ofMichael McNamara’s superbdocumentary John Scott: Art &Justice which premiered at theannual movie extravaganza.Fashion designer Pam Chorley(Studio 257), her adorable daughterJasmine and their fun’n funkykidsline, Misdemeanours, capturedseveral pages in Toronto Life(November 19<strong>98</strong>). Congratulationson the great spread.John Brown continued from Page 4heightened emotional state when I’m working,” he says,“I’m rather cold and mechanical actually.” I wonder ifthe garage repairmen’s outfit he wears is an allusion tothe mechanistic approach he’s taking. As if reading mymind, he says, “painting is the only thing I’m hands-onwith. I take my motorcycle to the shop.”To John, the painting experience itself is important andnot merely a means to an end. Each image becomesa temporal document chronicling the process ofimage-making: action, inaction, application, removal.“I’m not interested in the surface so much,” he‘ Untitled ’work in progressexplains. “In some way it’s a recording of the process.” As to how he knowswhen a work or body of works is complete: “It’s difficult - getting fooled intowhen time is up…or maybe I just get exhausted.” Usually the paintings leavethe studio all at once.John’s materials of choice are oil on wood (actually it’s mahogany door skinswith a bracing on the back). “I prefer the hardness of the wood surface to thetexture of canvas,” he explains. “Canvas doesn’t absorb paint very well.” Thewood finish also allows him to cut a painting down whenever he wants, a vitalstep in artistry that’s premised on moment-by-moment modification.Today John is represented by Olga Korper, one of Toronto’s most prestigiousart galleries. His next show opens there on February 28, 1<strong>99</strong>9. In <strong>January</strong>, hewill be teaching art full-time at his alma mater in Guelph.We are honoured to have a John Brown original, Mouth (1<strong>99</strong>7), as part of ourraffle to raise funds for our early learning centre, Studio 123, this holidayseason. Thanks John, for your support.A taste of what’s to come...Kristen Fahrig’s (Studio 394)sensational artwear appeared inRevamp <strong>98</strong>, an environmental fashionduring Waste Reduction Week in November.Fahrig’s entry, made from empty bottlesof natural spring water, paid homageto the event sponsor, Evian.Once again, <strong>401</strong> tenants participated in the popular Christmas Craft Show and Sale (Nov 26-Dec 6) atthe National Trade Centre, Exhibition Place. The annual event draws thousands of eager shoppersand potential visitors to our very own Holiday Marketplace the following week – thanks to some savvypromotion by one-of-a-kind’ers Gwendolyne Hats (Studio 433) and Kilim Crafts (Studio 130).page 5
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