 |
Rawlings Lowndes,
2013, by Kim Alsbrooks
|
I tend to take artist’s statements with a grain of salt, so
when Kim Alsbrooks writes, “The White Trash Series was
developed while living in the South out of frustration with some of the
prevailing ideologies, in particular, class distinction,” the skeptic rises in
me. But the work is more fun than the artist’s statement would
have you believe.
 |
Jane, 2014, by Kim Alsbrooks
|
After all, the artist is like a bowerbird, always collecting
and repurposing junk. Who hasn’t seen flattened aluminum cans in the street and
wondered how they could be useful? Like all metal painting surfaces, they’re
inert and stable, so I guess they’d make a great painting surface.
 |
| Adriana on Fanta Orange, 2014, by Kim Alsbrooks |
I really think her work is more about the juxtaposition of
old and new than about Southern class distinctions. But as a base for
landscapes, they would be awfully powerful. I see flattened cans all the time on my
perambulations; maybe I’ll give this a try. After all, art is largely
appropriation, right?
