"H ow do you picture Donald Trump? When you close your eyes and summon his name, what do you see? Is it the fake tan-orange and blended so badly it shears off like a shoreline at low tide along his ears? Maybe it's the hair-that improbable swoop. Or the scowl and squint. Likely it's some combination, all the broad and laboured tics of a man permanently performing a kind of political drag."
"I was used to the effect he has on a room. He says and does so much. It often feels impossible, in the moment, to adhere to any one thing. To my mind, no one has ever captured that kaleidoscopic inconstancy the way Brourman has. Her works are kinetic. Her trial paintings, several of which were recently exhibited at a solo show at the Will Shott Gallery in Manhattan, collide images and words."
Two days before Donald Trump's second inauguration, a visit to the Phillips Collection in Washington, DC involved Isabelle Brourman, an artist who sketched and painted Trump's criminal-fraud trial daily for New York magazine. Brourman's courtroom paintings collide images and words, combining witnesses, testimony, symbols, unearthly colours, and improbable faces. The works convey Trump's kaleidoscopic inconstancy and the theatrical, performative tics that dominate a room. Brourman reacted to a large Joan Mitchell canvas and studied lithographs by Honoré Daumier during a gallery walk, reflecting an engagement with both mid-century abstraction and nineteenth-century satirical art.
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