October 7 through November 13, 2010
at Schroeder Romero, New York

Blurring the line where fine art, design and the decorative arts collide, Brown's work explores the transformative nature of the fetishized object—sexual or otherwise—and its relation to gay identity and the instability of memory and narrative located in historical objects. At the same time, he uses these fetishized objects to question notions of luxury and class. These new works, which include sterling silver furniture, c-prints, harlequin puppets, antique textiles, large-scale sculpture and found objects cast in precious metals, often incorporate appropriated antiques, re-imagining the decorative art object as readymade. Objects, both antique and quotidian, are stripped of their original intent and brought together in new contexts—and often recast in materials such as bronze or sterling silver—to form new narratives. In many of his pieces Brown incorporates an abstracted pattern of beard hair, subverting a fetish prominent in gay Bear culture into a decorative element, highlighting how the fetish itself can actually be denuded of its mystical power and transformed into something safe.