Newsletter January 2019

In March this year, two important moments for me coincide: there is Ennui Refigured opening at APT Gallery on 14 March in London, a joint project with Freya Purdue, showcasing a selection of our new paintings and drawings (here's a link to my newer work).

Then there is, opening on the same day, Made in Britain - 82 Painters of the 21th Century at the National Museum in Gdansk, Poland. I felt honoured end of last year when 2 of my paintings and a series of drawings became part of the Priseman Seabrook CollectionMade in Britain showcases parts of the collection, amongst them one of my works (Preceding/Forgotten Spaces 1 from 2010). 

For more information on these shows please read the following paragraphs:


'According to Ian Buchanan in a recent text, there is a move in the current mode of appreciation of art toward the small screen of mobiles and other electronic devices, which provide a somehow perfect and self-reflective antidote for boredom.

Von Brasch and Purdue propose their visuals - in the face of the ‘new’, the fleeting mass commodity - as possible anchors for absorption, contemplation and non-expectation in the anonymity of the gallery.

Both artists contextualise their works with aspects of ancient and modern painting, symbolism and alchemical influences, so as to weave historical strands dealing with a similar interest in the dynamics of contemporary Becoming.'

For this show we currently produce a catalogue with an introduction written by artist and writer Ella Clocksin.
We will talk about the works and the leading idea behind on Saturday 23 March 2pm, Ella will moderate this talk.  


Made in Britain.jpg

Curated by:
Robert Priseman, Anna McNay, Małgorzata Taraszkiewicz-Zwolicka and Małgorzata Ruszkowska-Macur

Made in Britain will run from the 14th March to 2nd June 2019 at the National Museum Gdansk. The opening reception is on the 14th March at 6pm. Talks and exchanges with the Gdansk Academy of Fine Arts are also planned for the 15th and 16th March and there will be a finishing event on the 2nd June.

The show itself will take place over three floors at The Green Gate, which is one of the main tourist attractions situated in the heart of this beautiful fairy-tale city. 


Upcoming Events on the Isle of Wight


The second Portfolio Preparation Course, organised by Nick Martin and Quay Arts, is now a condensed 25 week course, rather than 30 weeks like last year (these changes will be updated on Quay Arts website). It has been very well received and will be running this year from March 12th to 26th November at Quay Arts, with an exhibition showcasing the students' works at the end, the dates have changed from the ones stated in the weblink and will be updated.
I'll be teaching two full-day courses, 'Let paintings emerge' and 'Hidden structures in paintings'.



For the weekend 9th/10th November this year I plan an exhibition of new paintings by Ella Clocksin (above a work on paper by her) in my studio in Rookley.
I have known Ella for a long time, we have curated together, had endless talks about art, and I believe that her new works will contribute something special to the audience here on the island.
The exhibition will also include a conversation with Ella about her work on Sat 9th. As she is also an accomplished writer, it makes only sense to have a look at her website and her artist statement.
This event is meant also as an opportunity to meet each other; Michael and I plan to host Sat 9th evening after the talk with something small to eat and some drinks after the show.

Illumination - quick tour of the show from my mobile

Today, Sat Dec 2nd, is the last day of the Illumination show at West Gallery, Quay Arts, showing my newer paintings, drawings (all the more colourful works in the clip) and a projected video (you'll see just a green 'break') , alongside Howard Hardiman's digital drawings (b/w, framed) and videos on monitors.

We got very positive feedback, and honestly, I'm glad that the talks and events, as satisfying such exposure to audiences can be, are behind me; despite putting on my professional head and trying my best to put out what could be of interest for others, I have to overcome a great shyness each time talking about exactly those things that are painted/drawn/filmed so as to not to have to speak. And even the speech layers in my video are certainly not intended to explain a lot.

And yes, it's great to share these things - a strange yet rewarding experience.

Thanks again to Georgia Newman, our curator, who came up with the idea to put our work together and L love the way it has been presented at the Quay.


I am currently working on two series of paintings: a new one (based on the Splendor Solis illuminations) Echo and a continuation of the Osiris Fragments. Working on these images confronts me again with the old question, when is it ‘finished’, when does the process of painting comes to a halt? Do I want to reveal and ‘finish’ figures/objects, make it ‘easy’ for the beholder or stick even more to the joy that comes with breaking figures/objects up, leaving them in a state of becoming, partially manifested and partially virtual? I catch myself sometimes thinking ‘nobody will recognise that …’, reminding myself of the joy of doing ‘precise’ life drawing – although what I want to achieve is to leave the beholder space for associations and feelings. Altogether different registers, I guess.

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Dec. ’14

After a very busy time (also away from studio and home), I have now enough space to experiment again. Working on some commissions (both reflecting Splendor Solis) and am happy to have so much studio time at hand.