March 12 - April 9, 2016
The Lodge, Los Angeles, CA
In this series of work, Broersma mines her own personal history for the moments that shaped her perception of what was and wasn’t appropriate about the body. Fleshy forms twist and contort themselves into impossible arrangements, suggesting the lengths we go to in order to satisfy the expectations of others. In both literal and figurative terms, she considers the trophies she received and the aspects of herself they awarded. Then addressing the flip-side, several works in the show imply figures hiding their actions in tangled landscapes by moonlight. Ideas of reward, shame, presentation and taboos meander throughout the paintings, delving into what is showcased and what is hidden.
Reviewed in Artillery Magazine.
September 12 - October 11, 2015
Autonomie Projects, Los Angeles, CA
'The paintings of Broersma occupy an enigmatic space where anthropomorphic gestures collide with classical genre painting. Her bent, twisted and twirling forms weave the figure and the environment together into a seamless pictorial event. Executed in a manner that is both haptic and subtle, Broersma's painterly vocabulary mixes a reserved sensualism with dithyrambic operations. As such, her unique take on classical themes like 'the bathers' and 'the odalisque' challenge not only traditional ideas of beauty and design, but they explore the shifting space between figurative naturalism and the (post-)modern preoccupation with formlessness." - Grant Vetter, excerpt from Dithyrambic catalog essay
A catalog was produced with funding from the California Institute of Contemporary Arts and is available here.
These paintings involve forms that are recognizable as relating to the face or body but are unusual or unfamiliar because of their deviation from realism. The double entendre of the term "knockout" spotlights the tug-of-war between violence and attraction when it comes to aberrations of the human form. In my paintings, rough and gestural marks demolish pristine surfaces of skin, developing and deviating from the human form to challenge its allure and how it is comprehended. I am interested in how even a distant representation of a person can be conflated with measurements of perfection, beauty and the ideal.
EXERCISE PROJECT (2011-2012)
In this project I painted women in states of exertion and fatigue after or during exercise. The works address ideas of beauty, power, self-image and our culture of fitness.
The project was funded by the Puffin Foundation and The City of Chicago's artist grant program.