My work exists at an uncertain intersection of painting and sculpture, a slow exploration of aesthetics and form.
While the work is founded in the fundamental tenets of formal painting – chromatics, substrate, composition, dimensionality, and presentation – it invariably moves into the language of sculpture to find resolution, achieving a satisfactory form only when the result seems adequately in-between and outside of either tradition.
My strategic use of forms and materials is a pursuit of ambiguity, achieved as much through deconstructing as constructing. Ideally the individual artworks act as conduits of that uncertainty, transmitting the work’s confusion to the viewer.
These narratives (or non-narratives) are uncertain themselves. I used partial memories, material discoveries, music videos, tropes of Queer culture and personal reference points to art history, specifically non-objective painting, Constructivism, the Brazilian Neo-Concrete group, Minimalism and conceptual art.
“Brandon Anschultz’s paintings and sculptures emphasize the tactile qualities of paint as a material substance. In doing so, they demonstrate the possibilities of the medium beyond its conventional use to create a visual experience on a flat surface. Anschultz allows the inherent properties of paint as a material to determine the eventual outcome of his work, encouraging the process of making art to function like a form of scientific experimentation. He therefore maintains a calculated balance between the intentional production of a particular effect or result with paint, and an allowance for the unexpected to occur as a result of nature taking its course. Previous paintings have been characterized both by accumulations of paint that project the surface of the canvas, and by residual stains of oil paint that seep and spread in a manner that might otherwise be considered unwanted, accidental, or to have “ruined” a finished painting. His sculptures feature a use of paint that encourages it to become a discrete object. Anschultz joins other artists working today in establishing an expanded understanding of painting as a physical as well as pictorial experience.
The works presented in this Front Room installation represent a continuation of his expanded notion of painting and sculpture through an exploration of new materials and methods of production. One series features abstractions created on synthetic foam, a surface that allows the entire painting to exist as an object but also provides for a painting process characterized by the absorption of paint into a space rather than extending sculpturally into our own. The nebulous and dreamlike imagery that Anschultz creates in these works is further enhanced and intensified by this condition of the paint’s saturation into the “negative” space of the foam material. He also presents sculptural objects produced through the labor-intensive process of repeatedly dipping structures constructed of wood and wire into paint. This progressive repetition results in a paint-object that is actually composed of many different colors of paint, despite its monochromatic outside layer. The forms also appear to suggest having been a previously functional object or something used for a strange, ritualistic purpose. Anschultz’s new works underscore his larger project of demonstrating the importance and necessity of maintaining a space for material experimentation and the unanticipated in painting and sculpture.”
– Dominic Molon, from the gallery guide for Pacer at the Contemporary Art Museum St. Louis, 2012