![]() ![]() ![]() There was no photo of him to be found in the whole fucking internet, and at the launch for the artbook of INSIDE artzine #20 (in which his work is also represented) in Tokyo‘s „Vanilla Gallery“, he didn‘t show up (okay, outside it was +30° Celsius… at night…). What lurks up there in the watery thought muscle of creative outlandishness? In the case of Trevor Brown, this is rather difficult. The look on the person behind the work, behind the forehead, is always exciting. You will find an extensive portfolio there which, divided into years, goes back to 1994. You can find an excellent overview of the artist‘s development on his website. ![]() Art has to touch the mind, even if it hurts. The conflict of „violence“ and „innocence“ disturbs many viewers, and only the true connoisseurs of art can face this conflict. But it has become more enigmatic and thus more intense. ![]() This kind of brutality can still be found in his works today, despite the comic-like abstraction and the big eyes. The violence in his early paintings seems more painful and unmistakably more real without today‘s „kawaii effect“. Fetishes from BDSM, such as (Japanese) bondage or humiliation, were even more visibly incorporated into Brown’s motifs than they are today. Even before 1994, before his relocation from England to Japan, Japanese women, forms and characters were very present in his works. When you want to approach the work of Trevor Brown, you should also include his early works. ![]()
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