My work, like the world and people that inhabit it, is multifaceted. Raw, uncomfortable narratives not talked about nor socially acceptable attract me. Social, political, and psychological dramas play out on canvas or paper, and in the process I learn more about myself, and search for insight into what motivated those around me.
There is the facet that is voyeuristic. I intrude and invite the viewer to intrude as well. I peek behind closed doors, into the hidden lives, and private moments of my subjects. Delving into the psyche and physical appearance of the subject being represented, I examine them up close, and then expose them for everyone to examine for themselves.
Humor is important, and used both as a means to an end, and as an end in itself. It softens the blow of tragic circumstances, or creates a sense of irony. Humor draws people in, an endearing quality in otherwise uncomfortable circumstances. The resulting juxtaposition of humor and tragedy often causes confusion and anger. Even in my most severe pieces, humor exists on some level, if only as a reminder not to take ourselves too seriously.
My work is figurative. It is accessible and facilitates communication. It's an understandable language, and like dance, a narrative is created without words. The stories told in the infinite number of faces, gestures, and bodies I see around me are inspiring and provide me with an endless supply of source material to work from.
Anatomical distortions emerge at the earliest stages in the process, separating the figures from the photographic ideal. The abstraction allows me to get up close and create my own reality. Without the distractions of perfect anatomy, I explore the figure, shape and light on my own terms. The distortions I apply to the figures are recognizable, but more familiar in a different context.
Through my work I strive to understand and create a dialogue with the world around me. I present to the viewer my interpretations of what I see and understand as truthful.
– SGB
Scott G. Brooks lives and works in Washington, D. C. Selected Exhibitons & Publications: 2011 – In the Nursery, Corey Helford Gallery, Los Angeles, California; Dystopia, CoproGallery, Los Angeles, California; Modern Fabulists, View Art Gallery, Bristol, United Kingdom. 2010 – We the People, Long View Gallery, Washington, DC; The Thirteenth Hour, Last Rites Gallery, New York, New York; Art and Addiction, Johns Hopkin's University Press; 2009 – Domestic Terror, Last Rites Gallery, New York, New York; Everything But the Kitschen Sync, La Luz de Jesus, Los Angeles, California; Metamorphosis II, Beinart Publishers; «Lexicon Surreal,» German Encyclopedia of Fantastic Art; Max and the Siames Twins, Glubdub Press.
Food Chain
2009, oil on canvas, 36"×48"
Patience
2009, oil on canvas, 30"×40"
Proliferation
2008, oil on canvas, 30"×40"
Rich Little Poor Girl
2007, oil on canvas, 16"×20"
Royally Ducked
2009, oil on canvas, 36"×48"