In Introspective, Tilghman Branner’s mixed-media work is up to the task. Beginning with, in the artist’s words, “light and shapes and form and weight…and absence of weight,” the work and the wide range of media in use are deeply rooted in the conceptual. Fur and acrylic paintings play out as hyper real snapshots of camouflage in nature, while the sedated fuzz of Branner’s light and sound TV set sculptures evokes a similarly-minded postmodern anonymity. A series of incredibly dense bronze castings establish a point of reference point for the show’s coup de grace works— featherweight, paper and gauze air-sculptures.
Central to all of the work in Introspection are two themes: first, is the concept of a grid – be it spiritual, spatial or technological – that binds all things; and second, is a vessel-like formal structure that Branner asserts one encounters repeatedly, “in outer space, under a microscope, in spores—forming and dropping and reforming.” These themes interplay with one another throughout the work in the show, mapping out an unmistakable internal grid of their very own.
Branner was heavily drawn to visual art in the mid 1990s while working with a team of artists on Tibetan temple paintings. The juxtaposition of surreal and serene she recalls experiencing in a temple in Katmandu captured Branner’s imagination, and has driven her to work ever since.