Gordon Ellis-Brown’s practice oscillates between social and environmental concerns ranging from ancient history to pop-culture, sustainability to space science; interests he credits to growing up in a seaside hotel in the 1970s, as well as childhood memories of American Westerns, the Apollo space missions and the unworldliness of television tropes broadcasting alien visitations.
Working with a range of media including paint, found imagery, raw and metallic pigments, photographic collage and resin, Ellis-Brown composes rigorously constructed compositions which recall the aesthetic of advertising or product design.
Inspired by the creativity and spirituality of pre-modern cultures, Ellis-Brown explores humanity’s connection to the natural world, revealing hidden connections between conflicting cultural traditions and belief systems. Often working in diptych format, he creates a dynamic conversation between these seemingly opposed positions as well as between notions of perfection and imperfection; for example the use of pure painted colour and the idiosyncrasies of early printing processes.
Ellis-Brown draws on his graphic design roots, using iconic imagery, immersive colour and ancient symbolism. Focusing on each image before relocating its context is a way of celebrating the enduring materiality of images whilst safeguarding the vulnerability of others. This dissonance subverts, disrupts and enriches our recognition of the visual world.
Ellis-Brown has exhibited widely in the UK and abroad, including the Royal Academy Summer Exhibition. His work is held in collections throughout the world. He is an Associate Member of The Royal Society of Painter-Printmakers (ARE) and a Member of Newlyn Society of Artists.
Self-taught or art school?
Art school – I graduated in graphic design and typography. I had an amazing mentor in photography. He knew how to get the best results from any student and any camera. I already had a love for photography and images but he inspired me to push the boundaries.
If you could own one work of art what would it be?
Untitled (Cowboy) by Richard Prince (1989). A classic image, genius cropping, loaded with action.
How would you describe your style?
Pure and dirty, perfect and imperfect, ordered and chaotic, digital and analogue, giant and tiny. I thrive on pulling together 2 opposing components to create something extraordinary.
Can you tell us about your artistic process?
It can start with an image. Or a colour, Or a word. Often working in diptych format, I work with a range of media including paint, found imagery, raw and metallic pigments, photographic collage and resin.
Is narrative important within your work?
Yes. The story is everything. Where an image takes you depends on how well I tell that story. I operate in a universe that is in parallel to others. I observe, at length and in great detail. Just like when we look at things from a different perspective, I capture all the contradictions that our iconography has generated over various historical eras. I seek out, create and finally present contrasts which challenge our most deeply-rooted cultural traditions.
Who are your favourite artists and why?
John Baldessari – pioneer and experimentalist. Broke new ground constantly.
John Stezaker – the best collagist, bar none. His vision and simplistic way of working are the marks of a genius.
Van Gogh – he produced exceptional work under the most challenging circumstances. His colours are simply stunning.
Richard Prince – a master of imagery.
What or who inspires your art?
Apollo space travel. Rock art symbolism. The Sea. Postcards. Bob Dylan (listening to).
Where’s your studio and what’s it like?
Over the garage. It’s my space, private and safe. Full of books, art materials, music and a huge easel. A place where I can immerse myself in work.
Do you have any studio rituals?
I work. I listen to music. I stay close to my dog.
What are you working on currently?
Revealing the unseen in the familiar. I’m building this into my next series.
Where can we buy your art?
You can see some of my work at www.gordonellisbrown.com Or email gordonellisbrown@mac.com
SOUL SHAKER:
“This is my heart as I
travel all over; my spirit,
my life and living.”
Flathead Indian Chief, Montana
Whilst living in the United States in the 1980s, during which time he visited The Navajo and Tohono O’odham Nations of Arizona as well as the lands of the Indigenous Tribes of California and New Mexico, Gordon Ellis-Brown became interested in the misrepresentation of Native American peoples in US pop-culture, particularly the damaging stereotypes disseminated by cinematic genres like the Western.
Ellis-Brown’s Soul Shaker series responds to these preconceived notions of the historical American West, incorporating symbolism drawn from forms found in Native American petroglyphs. Constructed from collaged photographs, resin, paint and natural pigments, these bold graphic works celebrate the enduring materiality of some images whilst recognising the vulnerability and need to safeguard others. The compositions seek to make a connection beneath the surface and by deciphering codes he responds with a visual language to challenge the viewer.
In Soul Shaker, Ellis-Brown also raises questions about environmental sustainability, juxtaposing ancient and modern cultural signifiers to ask how we might reverse the devastating impacts of modernity and globalisation to preserve our precious natural resources.
FINAL FRONTIER:
“The universe is a big place,
perhaps the biggest”
Kurt Vonnegut, The Sirens of Titan
In Final Frontier, a series of mixed media works combining paint, pigments, metallics and photography, Ellis-Brown explores his fascination with humanity’s place in the universe, contrasting found images of modern-day space exploration with ancient marks conceived from the visual languages of indigenous people.
Connections are drawn between classical deities and contemporary idealism, astronauts, the space race and Nineteenth-Century colonialism.
Ellis-Brown strives for perfection in colour and form, while highlighting the imperfections of traditional print processes. With subtle humour, Final Frontier lays bare the fragility and precariousness forever evident in human endeavour.
