The paintings of Marcy Brafman can be considered empathic gestures. They deal with situations which are inherently symbolic, sometimes taking on the symbol as an icon, and sometimes mining it for its humanistic traits mired in narrative that exist outside of fine arts but not outside of the human condition. This is what proves the nobility of her endeavor to transmute abandoned symbols into devotional gestures. She recognizes that our world is a Pandora’s box of humanistic concerns, and that it is art’s role to provide a last dollop of hope.
These are paintings born of Jackson Pollock, the end of nature, comic strips, cartoons, rock n roll, John Singer Sargent and a long toxic immersion in the living billboard of electronic and digital life. They are mixmastered with Marshall McLuhan, Velazquez, Karl Marx, Thorsten Veblen, daytime television, and motion poetry on the streets and roads, the great American highway of picture, image, word.
•Young, Stephanie Vellum #12 color plates 2014
•Oates, Leah. Marcy Brafman Interviewed by Leah Oates, NY Arts Magazine, April 2013
•Mahoney, Robert. “Marcy Brafman,Taming the Troll,” Vellum Arts Newsletter 2013
•Hrbacek, Mary. ”Marcy Brafman’s Enamel Paintings,” Review of “Pearlescent” NY ArtBeat,
•NY Arts & Art Fairs International 2011
•Berlin Tip Magazin, Review of “Ode on Melancholy,” 2012
•Gibson, David. “Devotion in Motion, The Paintings of Marcy Brafman,” Vellum Arts Magazine #6, pps. 8-11 color illustration, 2010
•Young, Stephanie. Vellum Magazine #5, 6, 9, 10 (color illustrations) 2007, 2008, 2011, 2012
•Junkermeier, Jennifer. “Autosemblematic,” exhibition catalogue, 2010
•Gibson, David. “The Backroom Biennial,” exhibition statement, NY Studio Gallery, 2010
•Wright, Jeff. “532 Gallery Inaugural Exhibition,” Review, Chelsea Now! 2008