Brook Hsu’s paintings are living and breathing, fueled by a commitment to her visual language. Comfort and illness reside in verdant shades, amplifying the artist’s role as practitioner of care and synthesizer of personal experience. 


Hsu insists that formlessness takes its own shape, resulting in an unbridled swell of abstract and figurative forms. Skeletons, girls and hares - expressions of animation within and beyond the mortal realm - emerge alongside efforts to maintain painting’s viability. Loops and lines commingle in sensuous fields of green and blue. Iron oxide enters as a violent sabotage, disrupting the more pensive hues while also providing complement to them: red as love and anger, green as tranquility and nature: It’s an unholy matrimony of opposites. Hsu just can’t seem to find her way out of green. Conceptual double binds execute the same tempestuous dance in her practice: love and death, violence and desire, bittersweetness. She reconciles differences by encouraging communion. 


— Excerpts from text by Reilly Davidson







— 節選自萊利·戴维森所撰文章

    • April 12, 2021 《2021年4月12日》 2022
      April 12, 2021 
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  • Pan et son élève 《潘神和他的學徒》 2022 Ink and fabric on canvas 布面墨水及布料 Overall: 170 x 280.6 cm + overhanging fabric... Pan et son élève 《潘神和他的學徒》 2022 Ink and fabric on canvas 布面墨水及布料 Overall: 170 x 280.6 cm + overhanging fabric... Pan et son élève 《潘神和他的學徒》 2022 Ink and fabric on canvas 布面墨水及布料 Overall: 170 x 280.6 cm + overhanging fabric...

    Pan et son élève


    Ink and fabric on canvas


    Overall: 170 x 280.6 cm + overhanging fabric

    整體:170 x 280.6 cm + 懸垂布料


    Depicting the recurring theme of the Greek god Pan, Brook Hsu examines the comparison between a painting proper and an assemblage that involves more than one canvases, as well the use of fabric. Hsu is known for incorporating fabric in her art, for painting on industrial area rugs, and has made hand-dyed and felted wall works. To begin working with fabric, Hsu used the color green as a guide for selecting what fabrics she would use. The use of fabric in one of the Pan et son élève once again pertains to the thematic idea of exploring greens depth.

    Commenting on the Pan et son élève on canvas, Reilly Davidson identified Hsus replacement of Pierre Klossowskis Satan and flute player in the two skeletons. Davidson: "Hsus contemporary manifestation is discrete and suffused with frivolity as she pares down the originals perversities. She performs an operation of sketches rather than rendering minutiae, subsuming antecedents within her own vocabulary, searching and destroying in an infinite loop.






    (About Brook Hsu)


    Brook Hsu was born 1987 in Pullman, Washington, USA, and currently lives and works in New York. Recent solo exhibitions include: Kiang Malingue, Hong Kong (2022); Kraupa-Tuskany Zeidler, Berlin (2021); Manual Arts, Los Angeles, USA (2021); Bortolami Gallery, New York (2019). Group exhibitions include: Reference Material, Adler Beatty, New York (2022), The Practice of Everyday Life, Derosia Gallery, New York (2022), Sweet Days of Discipline, Hannah Hoffman, Los Angeles (2022); kaufmann repetto, New York and Milan (2021), More, More, More (curated by Passing Fancy), TANK, Shanghai (2020);  LIFE STILL, CLEARING, New York (2020); The End of Expressionism, Jan Kaps, Cologne (2020); Polly, Insect Gallery, Los Angeles (2019-2020); A Cloth Over a Birdcage, Château Shatto, Los Angeles (2019); Finders’ Lodge, in lieu, Los Angeles (2019); and Let Me Consider It from Here, The Renaissance Society, Chicago (2018-2019). Her work is part of the collections of X Museum, Beijing; Long Museum, Shanghai. The monograph ‘Norwegian Wood’ was published by American Art Catalogues in 2021.




    許鶴溪1987年生於華盛頓州普爾曼,現生活和工作於紐約。她近期的個展包括:馬凌畫廊,香港(2022);Kraupa-Tuskany Zeidler畫廊,柏林(2021);Manual Arts畫廊,洛杉磯(2021);Bortolami畫廊,紐約(2019)。她近年參加的群展包括:「Reference Material」,Adler Beatty畫廊,紐約(2022);The Practice of Everyday Life」,Derosia畫廊,紐約(2022);「Sweet Days of Discipline」,Hannah Hoffman畫廊,洛杉磯(2022);kaufmann repetto畫廊,紐約及米蘭(2021);「More, More, More」,油罐藝術中心,上海(2020);「LIFE STILL」,CLEARING畫廊,紐約(2020);「The End of Expressionism」,Jan Kaps畫廊,科隆(2020);「Polly」,Insect畫廊,洛杉磯(2019-2020);「A Cloth Over a Birdcage」,Chateau Shatto畫廊,洛杉磯(2019);「Finders’ Lodge」,in lieu畫廊,洛杉磯(2019);「Let Me Consider It From Here」, 文藝復興協會,芝加哥(2018-2019)。她的作品被收藏於X美術館,北京;龍美術館,上海。American Art Catalogues於2021年出版了許鶴溪的最新個人畫冊《挪威的森林》。