Adèle Flamand-Browne’s carbon pigment and graphite powder drawings hover on the line between drawing and painting, with soft sepia-toned images that evoke feelings of warmth and wistfulness. “The way I settled into using carbon pigment was mostly an accidental find while seeking out new ways to draw,” the artist says, explaining that she came across a particular drawing material company from Portugal that sold powders and compressed bricks of pigment and randomly picked out some options that were water-soluble. “This has been my favorite accident of recent memory, because it led me towards a process that encapsulated my love for drawing, painting and printmaking. With the medium I am able to achieve values that span the range from almost invisible to rich darkness, as well as the ability to use a paintbrush. To me the works are both paintings and drawings—and additionally emulate the starkness of an etching or lithograph.”
Being Watched and Watching, carbon pigment, 8 x 10"
In her debut solo exhibition with Arcadia Contemporary in New York, Flamand-Browne will be showcasing her latest body of work, primarily depicting young women and girls with their faces turned away from the viewer, obscured or cropped out entirely. The exhibition opens March 21 and continues through April 14.
From the Same Cloth, carbon pigment, 16 x 14"
“When I look at the works individually I see them as a moment in time,” Flamand-Browne reflects. “I can recall where I made the work, what I was looking at and how I felt. They internally feel so different, but when they are side by side I see how I used them to process [my experiences], revealing that they are a reflection of large amounts of time spent alone.” She continues, “Through the creation of this body of work I found a new connection with the concept of self-portraiture, and what constitutes one. In recent years I have been drawn to photography portraiture, especially ones which subvert the tradition of a subject facing the viewer directly. This body of work is focused on capturing the moments that are about posturing and choreographed documentation.”
And Then It Was Morning Again, graphite powder, 24 x 18"
Flamand-Browne adds that she doesn’t begin a piece hoping for a certain reaction or feeling from her viewers. Rather, she hopes her artwork will compel viewers to step forward and study the pieces more closely and intimately.
For It Was Summer, graphite powder, 12 x 6"
“When I work I am never more than a few inches from the surface, and I would love for everyone to get a chance to look at my pieces from that vantage point,” she says. “I would like for the imagery to bring a sense of stillness, but beyond that I leave [it] up to the viewer.” —
Arcadia Contemporary 421 West Broadway New York, NY 10012 • (646) 861-3941www.arcadiacontemporary.com
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