In reviewing Hilary Brace's charcoal on
Mylar drawings for the
New York Times, Ken Johnson wrote, “once in a while you come across an art of such refined technique that it seems the product of sorcery more than human craft”. Despite the photographic veracity of her technique, Brace composes her images without premeditation, through an explorative process that allows them to unfold in unanticipated directions. Her current smaller, nearly postcard-sized charcoal drawings, along with her earlier charcoals, are made in a reductive manner by first darkening the entire surface with charcoal and then removing the medium with various hand-made tools, allowing the image to emerge through chance and intuition. For works of somewhat larger scale, greater complexity and more refined technique, Brace creates studies in a similarly explorative manner while she refers to photographs of sculptural
tableaus and other diverse means of garnering information. Consequently, these recent works are more deceptively photographic. "Brace’s fictional spaces depict nameless, placeless spectacles staged by clouds but suggesting such continuity between states of matter - solid, liquid and gaseous – that they are equally convincing as skyscapes, seascapes or sometimes landscapes." In Brace's words, as a drawing develops, the image "moves from vague suggestion to refinement as a remote, nascent world takes on a clear and obtainable presence." Writing for the
Los Angeles Times, Christopher Knight stated that “the feeling is less one of romantic yearning for something up there, out of reach, than it is full immersion in something stunning, primordial and elusive but immediately at hand.” Despite their small scale, as Leah Ollman observed in
Art in America, these drawings “suggest a vastness at the opposite end of the experiential spectrum, scaled more to the imagination than to the body. What Brace’s stunning little drawings do is put those two realms– the private and the cosmic – within reach of each other.” ==Photographs==