Pablo's Birthday, New York
Art history for Thorsten Brinkmann, like his collected material, is something to work with. He plays freely with codes of a common memory evoking tropes with sly feints and nods to what signifies “Portrait”, or “Still Life”. Working with found objects — one could say he gives a “new life” to these objects, and that by using them in a completely new context, these objects take on a different meaning. i.e., a curtain rod becomes a weapon, a tin bucket becomes a head, and a trunk, the body of a dragon — through this process he points to the story of representation itself. Using the armature of our expectations, Brinkmann works the historically dialectical relationship between photography and painting backwards, staging photographs that deconstruct photographic representation into fields of shape and color that none-the-less “represent” the narrative he is telling. In this way, the story of perception and representation simultaneously becomes the story in and of itself.