His preference for glossy polished surfaces and discordant color arrangements, meanwhile, saw him linked with the unnaturalistic Mannerist tradition in painting. Brown's paintings were often characterized by their penchant for sluicing distortion.He sought to fetishize expressionistic brushwork, such as that which characterized the work of the School of London, by flattening the tactile surfaces through finely applied brushwork. Emerging from the late-twentieth-century environment that treated painting with mistrust, Brown developed a special interest in raised impasto brushwork. His artistic concerns lay fundamentally with painterly form and how he might call on the history of art to pursue his interest in addressing the philosophical puzzle of artistic authenticity.
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