Scott G Brooks
Scott G Brooks is originally from Flint, Michigan, and currently lives and works in Washington, DC. His subject matter ranges from simple portraiture to intricate narratives. In his paintings, he takes social, psychological, and political issues and injects them with a dark sense of humor. Anatomical distortions separate the figures from the photographic ideal, which gives him the freedom to create his own distorted reality. His work is described as twisted and offbeat, sentimental, and disturbing. In addition to exhibiting in galleries, he has also illustrated several children’s books. His influences include Mad Magazine, Disney, Saturday morning cartoons, and talking heads on cable news.
My work, like the world and people that inhabit it, is multifaceted. Raw, uncomfortable narratives not talked about or socially acceptable attract me. Social, political, and psychological dramas play out on canvas or paper, and in the process I learn more about myself, and search for insight into what motivated those around me.
There is the facet that is voyeuristic. I intrude and invite the viewer to intrude as well. I peek behind closed doors, into the hidden lives, and private moments of my subjects. Delving into the psyche and physical appearance of the subject being represented, I examine them up close, and then expose them for everyone to examine for themselves.
Humor is important, and used both as a means to an end, and as an end in itself. It softens the blow of tragic circumstances, or creates a sense of irony. Humor draws people in, an endearing quality in otherwise uncomfortable circumstances. The resulting juxtaposition of humor and tragedy often causes confusion and anger. Even in my most severe pieces, humor exists on some level, if only as a reminder not to take ourselves too seriously.
My work is figurative. It is accessible and facilitates communication. It’s an understandable language, and like dance, a narrative is created without words. The stories told in the infinite number of faces, gestures, and bodies I see around me are inspiring and provide me with an endless supply of source material to work from.
Anatomical distortions emerge at the earliest stages in the process, separating the figures from the photographic ideal. The abstraction allows me to get up close and create my own reality. Without the distractions of perfect anatomy, I explore the figure, shape and light on my own terms. The distortions I apply to the figures are recognizable, but more familiar in a different context.
Through my work I strive to understand and create a dialog with the world around me. I present to the viewer my interpretations of what I see and understand as truthful.