Alexander Brodsky

By Marie Coulon

Alexander Brodsky, Untitled, 2014. Unfired clay, 840 × 1750 mm. Courtesy the artist and Betts Project.

There is someone behind Alexander Brodsky’s unfired clay facades. It might be a housekeeper behind one, a bored Kafkaesque rond-de-cuir behind another. It could be just an architect.

Alexander Brodsky, Untitled, 2014. Unfired clay, 840 × 760 mm. Courtesy the artist and Betts Project.

They all draw and archive the objects and spaces they discover in these buildings, and reassemble them like an archeologist reassembles what he excavates: a room, a space, a bench, barrels, bananas, a column, handles, nuts, a radiator, a robot, a table, cake moulds, eggs… The drawings could reveal the face cachée of the unfired clay pieces.

Alexander Brodsky, Untitled, 2016. Pencil on tracing paper, 230 × 320 mm. Courtesy the artist and Betts Project.

But it could also be a man, let’s call him B, who is drawing intuitive doodles while on the phone, as a spontaneous outlet, a subconscious excavation of his mind.

Alexander Brodsky (1955), Three Plans, 2016. Pencil on tracing paper, 485 × 320 mm. DMC 2775.

These drawings are part of a series of 21 drawings on tracing paper by Alexander Brodsky on show alongside his unfired clay pieces as part of the exhibition, Reliefs, at the Betts Project, 8 Oct – 20 Nov 2016.