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Philip Guston, Wayne Gonzales, and Cecily Brown are all painters drawn to figuration. Yet, each takes this desire to reference human experience in a different direction through the depiction of bodies, body surrogates, and masks. Cecily Brown’s love of the physicality of painting, bodily desires, and the heroics of expressionist masters like Willem de Kooning and Francis Bacon collide to produce highly visceral, sensual images. Father of the Bride, 1999, with its submerged, yet, ever expectant orgy of body parts, reassert both the magic of her male predecessors and embody the defiance of some third-generation feminists’ unapologetic love of sexuality. Wayne Gonzales takes found imagery and reworks it on the computer to design his images. In Twelve, 1997, the commercial imagery favored by pop artists like Andy Warhol, such as a seductive woman’s face, is segmented, edited to leave only the essential parts, and then rearranged. The final effect is of an alluring facade that still beckons no matter how much it is dismantled.
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