Boris

Renee Broders’ mind is a kaleidoscope of colour and faces, recycling memories of childhood play and 80’s TV. Confronting the void of the COVID-19 lockdowns, in the early hours Broders found herself routinely engaged in what she now calls her “insomniac finger painting sessions.” With her iPhone as canvas, and the infinite access of the internet, Broders began to build an army of miscellaneous, collaged portraits. Her subjects are born from a present feeling, a mood, an impulse to create here and now. Their construction and expression varies from day to day, conditioned by the moment in which they are conceived. The artist continues to use this process to incarnate the thousands of faces that live in her subconscious. These digital archives act as a preliminary study, which advance to form the basis of what becomes fully evolved oil paintings. Broders draws upon the vividness and spontaneity of the Pop art movement, the illusory distortions of Salvador Dalì, as well as the contrapposto flair of the Old Masters. Of her female contemporaries, Broders highly regards the surrealist whim of Loribelle Spirovski, the stylised, cartoonish mode of Barbara Hanrahan and the technical brilliance and imagination of Lynn Savery. All of the ingredients can be discovered within Broders’ own practice. Having completed her Bachelor of Arts, majoring in printmaking and painting at Deakin University in 1998, Renee Broders resides and works in Melbourne, Australia. Her career continues to flourish, with recent successes in the Portia Geach memorial award, and the Doug Moran National Portrait prize. Renee Broders’ mind is a kaleidoscope of colour and faces, recycling memories of childhood play and 80’s TV. Confronting the void of the COVID-19 lockdowns, in the early hours Broders found herself routinely engaged in what she now calls her “insomniac finger painting sessions.” With her iPhone as canvas, and the infinite access of the internet, Broders began to build an army of miscellaneous, collaged portraits. Her subjects are born from a present feeling, a mood, an impulse to create here and now. Their construction and expression varies from day to day, conditioned by the moment in which they are conceived. The artist continues to use this process to incarnate the thousands of faces that live in her subconscious. These digital archives act as a preliminary study, which advance to form the basis of what becomes fully evolved oil paintings. Broders draws upon the vividness and spontaneity of the Pop art movement, the illusory distortions of Salvador Dalì, as well as the contrapposto flair of the Old Masters. Of her female contemporaries, Broders highly regards the surrealist whim of Loribelle Spirovski, the stylised, cartoonish mode of Barbara Hanrahan and the technical brilliance and imagination of Lynn Savery. All of the ingredients can be discovered within Broders’ own practice. Having completed her Bachelor of Arts, majoring in printmaking and painting at Deakin University in 1998, Renee Broders resides and works in Melbourne, Australia. Her career continues to flourish, with recent successes in the Portia Geach memorial award, and the Doug Moran National Portrait prize.

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