Sabrina Brouwers and Taya De La Cruz are equally painters, but neither artist limits herself to the common established of equipment for earning their get the job done.
By Phin Jennings | 20 Jan 2023
Sabrina Brouwers and Taya De La Cruz are equally painters, but neither artist restrictions herself to the common established of applications for producing their operate. Brouwers’ layered, semi-geometric summary paintings are dominated by overlapping grids and circles, rendered utilizing rulers and compasses. De La Cruz employs professional medical syringes to dispense tiny blobs of paint, generating designs which she then adorns with even lesser words and phrases and letters in ink. The two artists offer with the distinction amongst uniformity and chaos, calculation and likelihood. For Brouwers, this manifests itself in the type of great circles loaded with imperfect brushstrokes for De La Cruz, it is in the distinction in between coloured spots administered using medical equipment and the artist’s personal handwriting.
Drawn jointly partly by their shared interest in this rigidity – on a Zoom get in touch with, De La Cruz describes Brouwers’ paintings as “a genuinely attractive hybrid of controlled and wild” – the two have collaborated on a collection of four mixed-media paintings. Named immediately after the four seasons, the modestly and uniformly-sized functions on panel mix Brouwers’ networks of lines and curves with De La Cruz’s creating. In Spring, “To see items in the seed, that is genius,” a estimate commonly attributed to Chinese philosopher Laozi, is repeated all-around the circumferences of a series of intersecting circles of different sizes sitting down on (and often jumping off of) a chilly mild blue and off-white grid. Autumn’s outlook is significantly less spritely. The grid continues to be, as do the obedient and disobedient circles, but there are now shades of ochre yellow and burgundy and De La Cruz’s handwriting narrates as “everything receives prepared to rest”. When I spoke with the artists, I acquired from De La Cruz that the terms for Autumn have been adapted from a far more grim quotation from writer Patrick Rothfuss: “In autumn, every thing is exhausted and ready to die”. But, of system, every thing does not die. autumn finishes, and wintertime arrives. And then spring, then summer months, then a further autumn: a cycle.
The artists were imagining of cycles when they made a decision to develop this sequence collectively: the menstrual cycle, the lunar cycle, the seasons. Like Brouwers’ circles, these cycles push onwards and outwards prior to returning to their beginnings. “The base grid is a subtle reference to the calendar yr,” Brouwers tells me, introducing a rigidity among a cyclical comprehending of time and the rigid, linear being familiar with just one that we may well be employed to – the form that has us crossing off times just one by one particular. This tension appears in line with the duality that equally artists offer with in their have exercise: there are no cost-flowing cycles and circles, and there is regimented, linear calendar time. To me, the paintings experience like a rejection of the latter. The calendar-like grids are embellished with a chaotic technique of circles that wax, wane, develop, shrink, and ultimately return to their beginnings. Every painting – every time – delivers with it a new experience, it also suggests that points will come again about. Even in Autumn, we see modest patches of Spring’s blue, reminding us that it isn’t considerably absent.
On the floor, the paintings are about the optimism of spring, the pleasure of summer, the tiredness of autumn and the bleakness of winter season. Definitely, they are an homage to the cycles that encompass us and those that are in just us. “It all sort of came again to…hunting at it as more of a lifestyle cycle,” De La Cruz describes to me. With this in intellect, wanting at Spring, Summer time, Autumn and Winter, I really feel serene in the awareness that – In the environment, in the system and, in the end, in my life time – return is inescapable.