A Visit to Cecily Brown's Studio

Oct 2008

While I was attending her opening at the Gagosian Gallery on Sept. 20th 2008, which reminded me of the Oscar Awards in Hollywood, wall to wall crowds, limos, sports cars, motorcycles, wealthy elderly men with their attractive young women, everything looked like money! At one point the spacious gallery, that at one time had been a bank, was so packed they had to stop admitting people. I was fortunate enough to be in the company of her friend and fellow painter John Currin and his lovely wife Rachel, so it made things a little easier. When they eventually introduced me to Cecily, she knew who I was, for I had been supplying her with colors and whites by way of her assistant "Lou" for some time by way of the phone, but we had never met. She greeted me warmly and I was surprised that such energetic, bold and large scale paintings were produced by such a delicate and feminine person, and I told her so.

She understandingly smiled and took me by the hand and one by one introduced me to some of the biggest painters in the world, saying this is the gentleman who makes the beautiful colors that you see! I was totally stunned and from that moment on, she could ask me to do anything she wished. It was such a memorable time for me, made possible by a gracious and sharing person. She made me the center of attention and everyone wanted to know who I was! This is something that I'm not normally used to and being in that kind of company all at once is rare.

When I finally came back to Earth and returned home, I composed a letter thanking her and offering to go to her studio with some customized material that I believed she would be interested in seeing. She responded favorably and a time was arranged. Within a couple of weeks, I had prepared everything for a demonstration of various gels I believed she could use: One translucent, one with mica, and one completely clear, all with no solvent or varnish or toxicity. The only odor was in the clear one and that was from the Canadian Balsam that smells like a Christmas tree.

It was a beautiful autumn day when I entered her huge studio/home in lower Manhattan, in the company of her valued assistant "Lou". Coming out the elevator that opens directly into her loft, I was immediately aware of high windows in the front that allowed strong light to stream in. High ceilings, maybe 14 feet, added to the dramatic effect. Natural hardwood floors, plenty of room, and some seating for guests, everything very neat and organized.

As she was not quite ready to make her entrance, I occupied myself by studying the numerous paintings that were hanging everywhere. The ones that were in progress interested me the most, as I could get more of an idea of how she worked, jiggling paint in transparent and opaque passages, reds and green intertwined like a tapestry. Being a painter for most of my life, I speak their language and communicate very well on a technical level. When I see what they are trying to do, I can usually suggest something that will aid them and have a paint quality that will meet them "half way" rather than inhibit what they're trying to achieve.

After fifteen minutes, she emerged and cordially greeted me. I was then given a personal tour along with an interchange of problematical comments. She then picked up a brush and worked a little passage with one of the gels I had brought along. That gave me another idea for a series of semi-liquefied paint that I eventually made for her.

We were then seated on a couch and the conversation continued concerning her working methods right from the beginning of a painting to the finish. I believe she should back everything up even farther, to the actual preparation of the canvas, and start from day one. I did not go into that at that time. As far as the actual painting itself goes, she doesn't need any help. The approach to painting is the only thing you can ever advise anyone about.

Since she was pregnant with her first child, she was very concerned about the fumes of turpentine in her environment, which I noticed, plus any paint or mediums that might have a high level of toxicity. I immediately suggested that she should give up solvents and varnish altogether, not only in her paint application but in the cleaning of her many brushes everyday, plus to dispose of the apron she was wearing that looked like a painting! I not only recommended the gel mediums that I invented in three varieties but washing and soaking her brushes in CP Safflower oil. Cleaning brushes in solvent makes them hard at the ferrule and she has many expensive custom-made brushes, plus using disposable paper aprons. Problems solved! No odor, no fumes, no toxic build up, no wasted time, no hard brushes! I believe I won her over because she mentioned this on a radio interview shortly afterward.

I truly enjoy turning "good" people on to things when they appreciate it and will continue to think on her behalf, concerning her material and technical needs. As she accompanied me to the elevator, she gave me an inward smile with her eyes that I will always remember. That was my reward.

--Robert Doak