In the heart of Kensington, in a small studio inside a nondescript converted factory, you will find emerging artist Brandon Dean.
Raised in Alabama, Dean is a newcomer to the Philadelphia art scene. A painter by trade, his work focuses on queer culture that pushes the limits of the white nude male image. Working primarily with oil painting “gives the work a heaviness,” he said, that fits perfectly with both Dean’s personality and practice.
His work is seductive and cutting-edge. Sitting down to talk with him showed me the great complexity his work communicates. What is key to understanding Dean’s work is that the erotic nature of the art is secondary to the sociological critique that his images are intended to produce. The work in this way acts as a catalyst to relinquish the male body from its normative restraints.
As a city of neighborhoods, there is so much art and culture happening all the time in Philadelphia that often work is done in isolation — or, on a positive note, is excitingly waiting to be discovered. Dean’s work is no different. He perceives himself as being on the margins in many intersectional ways, his work driven by a strong and thoughtful, even existential place. Focusing on nude images of white men, that are more critical than sexual, the work challenges the viewer in fascinating ways.
From this intellectual jumping-off point, you get a sense that the narrative behind his work is just as important as the images. According to Dean, the public perceives his work in two ways: one being the superficial, and the other a nod to the critical voice that reflects the hard questions of “why” that are embedded in the works’ ethos.
Central to the work is Dean’s own queer identity. Dean said he sees his own queer identity as an axis point of the media culture, adding it is both “removed and distanced,” while also reflecting his own subjectivity as being an integral aspect of the dialogue of the paintings. However, as Dean noted, how the work imbues his own identity is not “as literal as it may seem.”
“I am not the person that is attracted to these figures; if I had a boyfriend, it would not necessarily be any of these guys.”
As for the images themselves, they are reminiscent of classical composition, while in some ways directly pointing to Dean’s own inspiration from magazine culture. He said the work of Ralph Lauren had a major impact on his practice. He was also quick to reference artists such as Richard Phillips, Caravaggio and Leonardo da Vinci. This is a logical cognitive leap, since as a viewer you are confronted by the fluidity of Dean’s use of this high/low intersection. Perhaps his strongest quality emerges from this, as it creates a powerful prompt for dialogue.
Dean is also working with images of white males in the nude infused with images of the confederate flag. As an African-American and queer artist, Dean said, he is inspired by the use of white male nude models in order to reflect the white male gaze. The consciousness of choosing these models flips around the privileged that is so hegemonic in mass-media culture. Indeed, the use of the flag from this position queers the privileged gaze and works with the concepts of heritage, oppression and sexuality in fascinating ways. What is so striking about his recent work is the high level of Dean’s self-perception as he discussed the action of choosing his subjects. For Dean, choosing his subjects is just as political as the images themselves. This complex relationship with subject/object dynamics creates a complex landscape within his own practice. This gives Dean’s work a sharp critical eye that I would suggest ameliorates the pool of intellectual creativity and diversity emerging from the Philadelphia art scene.
Justin is a recent honors graduate of Temple University, curator of Guest Room Studios in Kensington and freelance writer. His work focuses primarily on LGBTQI advocacy, aesthetics, and philosophy. For more information, see http://justindowdall.wordpress.com.