Every centimetre is teeming with energy and yet it is very contained. Cecily Brown is a contemporary British painter. I couldn’t believe how much art there was everywhere’ (C. Brown quoted in R. Wetzler, ‘“Now I can steal from myself as much as from other artists” – an interview with Cecily Brown’, Apollo, 3 November 2018). Allie Biswas: How long have you been working on these smaller canvases? Photograph: Alicia Canter/The Guardian. Cecily Brown: I’ve been painting these smaller works for a long time. I’ve consequently almost declared it finished twice before. • Cecily Brown: The English Garden is at Maccarone in New York until 20 June. It of course helped that Jim had written an essay for an exhibition I did about five years ago, and in it there was a passage about one of my small paintings, which I’d always thought was just so fabulous. ‘If you do something you like early on, the constant fear is losing it, but if you’ve got two or three or four going at once, they can all go in different directions,’ she explains. (2016) – designed, at 33 feet long, to immerse the viewer – she draws on the tumultuous intensity of Géricault’s Raft of the Medusa (1818–19) to depict the chaotic aftermath of a shipwreck, with a mass of nearly abstract figures pressed up against the surface of the picture plane. ‘I think they’re the children of Gilbert and George and Bacon in a way that I feel I am as well. Brown's vigorous and tactile oil paintings evoke the breadth of human experience, particularly the emotions associated with touch, pleasure, and passion. She gives the example of Degas’s Young Spartans Exercising (1860), the subject of a suite of drawings included in the Drawing Center show. R. Dergan, ed., Cecily Brown, New York, 2008, pp. (en.louisiana.dk). Untitled (2018), Cecily Brown. Brown studied at the Slade School of Fine Art in London before relocating to New York at the age of 25 in order to distance herself from the Young British Artists and their focus on new media. Then by the next day it’s hard to change it. 1969) is a British painter. CB: This is one of those really frustrating ones because I liked it too early on, which is always a bit of a trap. Speaking…, Mike Lee, the senior senator for the state of Utah, voted on Thursday against a pair of bills to create…, The work is central to the identity of the cash-strapped school, All the evidence suggests that the real challenge for historic properties is to present a much fuller and more complex account of the past, The meaning of tens of thousands of recently discovered rock paintings in Colombia will be a hotly debated topic for many years to come, from 2016 – for which she copied the figure groups from paintings of shipwrecks by Géricault and Delacroix in ink and charcoal, using broad washes of blue and grey watercolour to suggest the surrounding seascape – which served as the basis for the paintings she exhibited last year at Paula Cooper. Still from “Cecily Brown: Take No Prisoners” From the Quarterly. Alexandre da Cunha – interview: ‘All my work is about combining things and making them have a conversation, or sometimes an argument’ Danh Vo: Chicxulub. In that time, Brown has become known for large-scale works that straddle the border between figuration and abstraction, capturing the sensations of the body through lush applications of paint. Matisse: The Books – book review. Often I’ll just paint and not really look at what I’m doing for a few hours. For instance, in the book’s interview with Courtney J. Martin, chief curator of the Dia Art Foundation, Brown says, “I’m from a small town where my friends laughed at the idea that I could possibly be an artist. Born in 1969, in London, Brown received a degree in fine art from the Slade School of Fine Art in 1993 and moved to New York in 1995, where she has since been based. So maybe in total there were around 45. We met the British painter at her New York studio for a talk about borrowing imagery from other artists, and how she has always responded to dark, scary art. 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