Tropics 1956

Editor: This is "Tropics," an acrylic on paper painting by Eugene Brands, from 1956. I find it rather dreamlike; the shapes and figures seem simplified, almost childlike. How do you see this work? Curator: The seemingly simplistic application of acrylic raises immediate questions about the artist's intent and the reception of his materials. What kind of labor went into its creation? Is this ease of handling part of its message? Consider the contrast between this accessibility and the more established "high art" practices of the time. Editor: That's interesting. I hadn't considered the 'ease' of acrylic as being part of the artistic statement. So, is the point about acrylic and other readily available materials undercutting the elite? Curator: Precisely! Brands, as a CoBrA member, would have been keen to challenge art world norms and production. They wanted a democratic accessibility, even within the canvas's materials. How does its style and execution challenge traditional ideas about artistic skill or the value of craft versus “fine art”? Editor: It seems like the crude expressionistic style diminishes his ability to make something 'realistic' or classical, moving away from conventional beauty standards. What do you mean about labor? Curator: Consider the relatively quick drying time of acrylic versus oil paint. This sped-up production also alters how we value it and might be a conscious push against slow, laboured art forms tied up with elitist tastes and expensive, lengthy production practices. It transforms artmaking, inviting new perspectives, from amateur creation to institutional exhibition spaces. Editor: So by embracing quicker materials and 'simpler' forms, Brands opens up possibilities, right? I hadn't really thought about the medium's role in democratization before. Thanks. Curator: Indeed! And this exploration underscores how crucial understanding material and the methods that surround the painting is when interpreting "Tropics" as something with radical agency.