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About Brooklyn Fink

Born in Saskatoon in 1984, Balthasar Maria Brooklynensis Carduelis is an interdisciplinary studio artist with roots in drawing and painting. His postconceptualist practice draws into crisis the contemporary fashions and incoherences of the Art World with an unabashed iconophilia, redirecting iconoclasm’s hammer back upon the false god of Iconoclasm, herself, as one vector to liberate contemporary visual culture from the yoke of instrumentalist propaganda and the Globohomo dictatorship.


Brooklynensis grew up drawing, teaching himself by imitating the artists of comic books and of animated cartoons and by imitating one particularly talented older boy, the great Trevor Jameus (aka Rove). Graduating from the University of Calgary in 2010, with a Bachelor of Fine Art (Media Arts Concentration), Brooklynensis studied under such artists as {Eric Cameron, Kim Huynh, Jean-René Leblanc, Bill Laing, Ron Kostyniuk, and the late John Stocking}. His research at that time was exploring digital and mechanical technologies as complements to traditional Artmaking, with computer-numeric-controlled carving robots, sensor-based interactive video, and industrial painting techniques being adapted to create art objects. 


After Art School, for about ten years Brooklynensis focused his practice primarily on painting. In 2014, that focus was narrowed unto heraldic painting for its precise visual language, disillusioned as the artist had become with contemporary art’s insistence on the con-text over the sub-stance. Brooklynensis felt the artist shouldn’t have to be in attendance to tell a story or the curator shouldn’t have to hang a didactic on the wall to gloss a vocabulary, in order for the viewer to enter into the work. So he started painting heraldically such that any viewer who desired a context could just crack open an heraldic dictionary, and anyone else could simply enjoy the aesthetic experience without being made to feel stupid for not seeing any of the Emperor’s New Clothes.


In 2020, Balthasar Brooklynensis returned to digital technologies as a means to make art objects, rendering the digital-camera and the pigment-printer into the brush and the palette for Caravaggesque still-lives and portraits, within the isolating context of the Globohomo lockdown of humanity.


Remixing ancient and modern languages, symbolism, mark-making, and materiality, Balthasar Maria Brooklynensis Carduelis creates what are conventionally considered to be “beautiful” objects, engendered with Athenian taste and animated with Lacedaemonian spirit. He is currently studying stained glass and architecture.