Biography / Statement

Janet Bruesselbach is an able white cis fem painter raised by scientists in Los Angeles, living and working in New York City. She was educated at RISD (BFA 2006) and the New York Academy of Art (MFA 2009), and was responsible for “I Hate Art” (2011) and Teleportraiture (2012). Her most recent and ambitious project, Daughters of Mercury (2015) was full-length oil portraits of trans women the artist loves and admires.

Bruesselbach’s role as a portrait artist is to seek out interesting people whose magnetism, ideas, beauty, and importance are not necessarily rewarded by either the economies of capital or attention. The painting becomes a physical artifact of the conversation and relationship of live sittings, combining representational perception with invention connected to both the artist’s and subject’s imagination, and honoring their constructed image and honesty.

Bruesselbach’s work limns speculative realism in the social position of figurative oil painting. Its utopian experiment seeks cyborg feminism representing embodied subjects within non-representational, generative spaces. The artist’s network of biological mechanism and historical influence manifests as emphatic lucidity and pulp surrealistic excess moderated with pragmatic humor.

Sensory overload and interplay between consistent and multiple space display decadence within a sustainable virtuality. Eclecticism induces a decentralized, eccentric perspective out of a mainstream and traditional medium. In search of levity, here is no automatic orientation; everything is both figure and background. Bodies shift colors, reflect and are reflected, both fully permeable and closed. Space photography, cosmology, and speculation influence composition. Paintings are sometimes vehicles for elaborate, authoritative, and self-mocking titles inspired by propaganda.


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