International Outsider Exhibition of Modern Art
Glenn Brady has been on this site since June 2006. This will be the first thing I write about his art and it took until 2013 to write it.. I haven't been able to say anything, which is unusual, because there are very few words put together that could talk about his art and this artist. Look at the work. His all one color works are either stifling, hemming in an escaping joy, or they hint at freedom possibly just around the corner. He paints scenes and landscapes too. The scenes are concentrated in the asylums and stark rooms kempt just so special for the different people we all encounter or at times resemble. Sometimes, he places his scenes in the menacing city of shadows, a brightly clothed lady on a darkened street of poles or the hope of a yellow sky tamped down amongst the black shivering town. Brady's landscapes mostly present a road, small and spindly, broad and long or down a winding path splitting the paint with the lure of a better place or the promise of more color and light. Looking at them over time, though, it sometimes becomes clear that no matter how pretty the hues or alluring the views, the road is meant as the one last escape from that which is just off the plane. There are towns of squat shelters, too, in Brady's painted world and cities with big buildings lining a skyline of shooting stars, bright street lights and no people. Colorful vistas of life but no signs of life.
And now, after breaking my silence, I find that still, over 16 years later, I fail.
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