Brin employs photography, manipulation, installation, paint, text, readymades and artisanal work to reflect and interrogate the various narratives of ownership and visual references.
Exploring how continuous aesthetics forms an art language. Their works are seeded from a range of influences including social media, minimalism, architecture and their own personal stories and experiences of dislocating across continents, cultures and adversities.
Currently living and exploring in Naarm (Melbourne), Brin questions the notion of art, its value and the radical necessity of eye pleasing aesthetics. They also reflect on their own journey and the pieces they produced as a medium under questioning and a narratives to challenge. As a conceptual artist, Brin attempts to translate ideas into a physical matter outside the barriers of a specific medium.
Through this body of work, Brin explores their own growth. In their own words: “From the moment I became aware that it is possible to do life whichever way one wants to, I only look back to remember where I was and how far I’ve been”.
Through this body of work I explore my own progress. The roots of this collection started in 2010, as an outlet to document my journey through life, cities and feelings. It is my most personal work.
Over the years, I focused on calibrating my framing and finding my language. Unintentionally it became a journey to find visibility of my own voice and how I see the world. Sharing how I see the world altered my reality and affected my feelings towards adversities. Through my journey, I chose the happy memories;
Looking skywards, and observing minimalism amid the clutter was a recurring topic. And it resulted in a manicured feed of squares that includes: peaks into my personal life, pieces of skies, parts of buildings and horizons, lots of horizons. A human looking around, above and beyond.
In recent years, I realised how manipulative I've been. I’ve twisted my reality and shaped a world of my own. (I am very proud of that.)
I decided to take that a step further. I used coloured geometric shapes, an aesthetic form that i'm comfortable with; a foreign addition to the natural and urban scapes that created my journey. Forceful and obvious; the alterations are now very prominent. They alter, balance or ruin the reality. However you see it.
Would you question or wonder what’s hiding behind the forms? Or you’ll see the composition as an entity presented to you? For me each square is still a moment that I captured, with not only what you see but also what was around it. Each title is an overheard statement, it’s what makes the story complete for me.
My work is presented by: www.copona.com.au