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Cudelice Brazelton IV (b. 1991) is an artist born in Dallas, TX and currently lives in Frankfurt, Germany. His work manipulates fabric, collage, industrial hardware, and cosmetic products to explore the durability of distressed forms and surfaces.
Selected solo and duo exhibitions include: A Curve of Many at Murmurs, Los Angeles; Starter Kit at Galerie Barbara Weiss, Berlin; Bronzed from Silver at Galerie Sans titre (2016), Paris; Recoil (with Dozie Kanu) at International Waters in Brooklyn, New York; Violent Groom at Galeria Wschód, Warsaw; Heavy Circuit at Ola Bunker, Frankfurt; Prune (with Nicholas Grafia) at Shoot The Lobster, New York; and Bounty (with Jacob Mason-Macklin) at Jeffrey Stark, New York. Selected group exhibitions include whereabouts at Hessel Mu ...
His assemblages and painting/collages have a piercing quality and leave a mark. They can be tiny or large-scale, but no matter what the size, they pervade the space with their bodily presence. His works bear traces of various subcultures and current discourses and events, though they are neither illustrative nor documentary. Blackness, punk, DIY, and queer club culture are not only referenced in Brazelton’s practice, but constitute its driving force. Whether absurdly humorous or eerily dark, adorning or crafty, his works sharply point to what lies behind or in front of the surface of a body (of work) - Leonie Radine for Mousse (issue 75, 2021)
Throughout the practice, Brazelton has sustained it from working in steel foundries in Columbus Ohio. He is fascinated with the similarities and differences between the two spaces of the hair salon and steel foundry in order to combine popular culture with the act of industrial labor. The work demonstrates an interest in the skills and processes needed in these two fields; resulting in combinations that obscures figuration and leans towards abstraction. The gentle touching and movement of the head is a contrast to the reserved body language within general labor and steel working facilities. Both util ...
Focusing on the distinction between skin and flesh, Brazelton explores afterimages of a form hidden through the crevices of urban environments. Devices constructed of thread, sheet metal, and paper suggest malfunctioned site specific objects. Electrical charges are simulated through magnetism, silver, and glossy painted paper that ornaments the architecture of a given space. Once uninstalled, these mechanical assemblage works burst or shatter, awaiting to be repaired again in a new location, or made into a new model altogether. The signaling of new possibilities and model making is possible through t ...
In his canonical 1980 text “The Allegorical Impulse,” Craig Owens aligned works that propose a reciprocity between the visual and the verbal, by either treating words as visual phenomena (like Lawrence Weiner) or visual images as script to be deciphered (like Sol LeWitt) with the logic of allegory. While Brazelton engages the written word less explicitly, this notion of reciprocity between the visual and verbal illuminates a kind of grammar in his work, in which the exhibition may be read for its allegorical undertones: abstract hieroglyphics that quote scraps of contemporary culture by way of layers of materials with loose associations to the likes of post-industrialism or underground club culture - Camila McHugh at Flash Art from the review of the show "Starter Kit" at Barbara Weiss, Berlin