BROOKE CHANEY

When did you start making art? Tell us a little about your background.

Ever since I can remember I’ve had an interest in art. Growing up in a mixed race household I had relatively open-minded parents who encouraged me to be creative and active. The sizable list of activities I took part in included sports, music, and art. As I grew older I filtered through that long list and by the time I was a Freshman in college, art was the only thing that remained. Practicing piano and violin became more of a chore than a desire; soccer was too physically rigorous as well as time consuming, but art inspired my life enough to become the focus of my higher education. Attending UNT and being a fibers (textile) major had a large influence on the way that I think and work now. There I learned the value of conceptualism and the experimentation of material application. An example of this was using traditional craft techniques such as sewing or weaving to create something that was more than just decorative and/or utilitarian.

What are the themes that you explore within your work?

Lately, I’ve been inspired by the physical and conceptual juxtaposition of COVID-19 and the BLM/civil rights movement of 2020. Through the use of popular ready made materials, my work is intended to arouse feelings of familiarity, humility, and empathy. My current body of work primarily deals with the topic of black sacrifice for white comfort and advancement. In doing this it also raises questions of superiority, race, and relationships.

Tell us about your art making process.

There are many times that I hear or read information and an image just pops into my head. Sometimes it's pretty detailed and other times it feels like a loose sketch, but enough of a picture is there to understand what I’m seeing. With that mental image, I begin to compile a list of materials while considering pre-made objects that could represent my idea best. For example, The Visible Empire was a piece that I saw an exact image of in my head. Once it came to me, I sketched it and listed the things I would need to purchase in order to make it come to life. After that, it was all experimentation with the form and execution.

On the other other hand, there are pieces that I have a partial image of and that takes more brainstorming than the previous process. If you look at my sketches you’ll notice mostly text. Mind Maps are a favorite way to break down my main ideas into smaller, more digestible pieces that can be moved around until the right combination is found. Once the logical aspects are handled, I consider the formal elements of the work including balance, unity, and emphasis.

No matter what the process is, one thing is guaranteed, I get lost in the work. Everything in my life, at that moment, revolves around the time and effort spent on creating that next piece of art.

What do you think it means to be an artist today that identifies with the vast LGBTQIA community?

I think there is power in the simplicity of merely existing, but even more in the ability to express a unique voice through a universal language. Whether the function of the artist be decorative or educational, personal or public, there is an opportunity for someone at odds with who you are to relate to what you express. If you choose to make work that is heavily LGBTQIA+ themed or not, you are still responsible for being a voice within the community. I believe it is the duty of an artist to connect with their audience through their work. I also believe it is the duty of an artist to connect other people to each other and to help us understand one another.

How can we see more of your work? Instagram? Facebook? Website? Upcoming gallery shows?

Instagram: @madexmom

Website: www.madexmom.com