Brin employs photography, installation, paint, text, readymades and artisanal work to reflect and interrogate the various narratives of ownerships and visual references. Exploring how continuous aesthetics form art languages. His works are seeded from a range of influences including social media, minimalism, architecture and his own personal stories and experiences of dislocating across continents, cultures and adversities.


Currently living and exploring in Melbourne, Brin questions the notion of art, its value and the radical necessity of eye pleasing aesthetics.


Through this body of work, Brin explore his own growth. In his own words: “I only look back to remember where I was and how far I’ve been. From the moment I became aware that it is possible to do life whichever way one wants to.”


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.

Looking skywards, and observing minimalism amid the clutter was a recurring topic. And it resulted in a manicured feed of squares: peaks into my personal life, pieces of skies, parts of buildings and horizons. The perspective of a meaningless human looking around, above and beyond.


In the 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, a foreign addition to the natural and urban scapes that created my journey. Forceful and obvious; the alterations are very prominent. They alter, balance or ruin the reality. However you see it. This time on larger squares, stepping out from the realm of a personal documentation into exhibited work.


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 the I captured, with not only what you see but also what was around it. Each title is an overheard statement, it’s what make the story complete for me.


Work is managed by:


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