Interview with Brandan Henry and Theresa Rose by David Dempewolf
Interview with Brandan Henry and Theresa Rose:
David Dempewolf: Could you describe the collaborative steps in making the Of The Day: A Common Place exhibition at Grizzly Grizzly?
Brandan Henry: This collaboration began with an idea proposed by Amy Hicks, who envisioned pairing us—two artists with distinct yet complementary perspectives—for this show. Inspired by her suggestion, Theresa and I set out to explore the interplay between our practices and the shared connections between urban spaces like Philadelphia and Wilmington. Our concept focused on the interchangeable connectivity of these cities, which we sought to express through a "photo dump" project. Theresa contributed photographs from Philadelphia, while I added images from Wilmington. Together, we engaged in conversations about which photos resonated most and why. Although time constraints prevented us from fully completing this project, our collaboration led to the creation of the 11ft Man. Theresa captured a striking photograph of a man standing in a subway, which immediately drew my attention. This image became the reference for the 11ft Man, whose monumental presence now anchors the work. A scaled-down version of the same figure appears as a subtle detail in Theresa’s adjacent collage, establishing a dialogue between the two pieces. The remaining works in the show were carefully curated, chosen intuitively for how they complemented the space and the broader narrative we aimed to convey.
Theresa Rose: Brandan and I were strangers prior to collaborating on this exhibition. Once we met, I felt an immediate kinship to Brandan, both to his ethics of photographing people as well as to his rigor of draftsmanship. Over the course of the months that followed, Brandan and I communicated about working collaboratively rather than simply hanging work in the same space together. For me, it was important to tie the work together and think about the valuable similarities and universality that cities and urban life held. We began sharing our photos, his from Wilmington, mine from Philadelphia. We agreed on one image to get started with, we called it the subway man. I took this photo with my phone, on the way to a meeting for work. The best images are ones I take when I am not seeking them, the moments that appear ready for me when I least expect it. While Brandan began drawing and enlarging the figure, I was working with small printouts to collage. Within the context of the subway, I selected the pillars as in the distance they became diminutive in size; the anchors that would hold the composition together. Structurally, the pillar held up the subway man too while giving space for a poetic interpretation.
DD: A common quality between your work is the use of strong figure-ground relations. Gestalt Psychology describes how people process visual information by distinguishing between a background/context and figure/object in the foreground. What are your thoughts about the figure/ground interactions within your work?
TR: My strongest sensibility is conceptual. I want to represent my environment and its spaces, architecture, people and objects, especially that which may be easily overlooked. I am thinking about what may be left out and that which should be included. I have a very Philadelphia underdog mentality which, in my visual language, translates to giving reverence to the ordinary or to the less than ordinary. I call attention to a dilapidated building, especially one slated for demolition, or elevate the status of a public pool or a recreation center much in need of care. In "subway man," for instance, I think of the man (who I do not know) as an everyday Philadelphian taking public transit to work or school or home. He is valued. Likewise, the pillars that support the subway ceiling become more iconic.
My process of making includes using monotypes which appear in the image as a wash, akin to a watercolor. This part of my process is intuitive save a few intentional color choices. I am looking to marry collage (figure) and wash (ground). I know that the marriage is complete once some kind of visual magic happens. It's all very romantic! But also, this portion of my process is formal, all about aesthetics.
BH: In the wall drawing the border of the walls became the picture plane and its corners the border. I think about how figures occupy a space and I'm interested in how people move through a space and how they have ownership of the area if only for a moment. We can begin to consider who belongs and how the body can be supported by emptiness. I am constantly thinking about hypervisibility and invisibility. The suggested environment and reality of existing. Placing the 11ft man in the corner became an obvious decision to create a presence not only in scale but interaction with the structural integrity of the gallery space. In some of my works on paper I often neglect rendering the ground plane to push the idea of the overwhelming white space but there is still a suggested ground because of how I position and place the figures within the composition.
DD: Please describe your use of grayscale value or tonal color and what these choices aim to signify and evoke.
TR: I am slightly color-blind. In art school, I always had difficulty with color and for a long time, I avoided it. The process of monotype allows for play and for creating a tonal variety that I cannot seem to produce intentionally. Once I complete a series of monotypes, I am able to match color with the color I perceive in the photos. What I can distinguish is that the variety in tone creates dream-like scapes in which the collage can live. My intention is that the pairings are magical, otherworldly, spiritual, or reference natural phenomena in hopes that an unexpected outcome occurs. My hope is that they elevate the images that I wish to represent. I use the white of the paper, also, to frame, to highlight, to keep focus.
BH: Charcoal is a cornerstone of my artistic practice, much like sweet potatoes are a staple in my mother’s cooking. Its richness and versatility allow for an unmatched depth that I continually explore in my work. My approach to grayscale is deeply influenced by the role of light as a narrative force. I’m captivated by how light moves across the human form, shaping its contours and interacting with its surroundings. This interplay of light and shadow creates a visual language that imbues the figure with emotional resonance and depth.
Much of my work interrogates themes of Blackness, examining its meanings and implications through the lens of our shared experiences, culture, and environments. The formal contrast of a Black body within predominantly white spaces serves as both a visual and conceptual celebration of being. This contrast not only activates the composition but also underscores the resilience, complexity, and beauty inherent in Black identity.
DD: How does the stillness of photography play into your work?
TR: Time is in constant motion, the world rotates, we too are in motion. I feel utterly grateful for the ability to retrieve a phone, this small technology from my pocket, which allows me to photograph bringing stillness to a precious moment in time. Yes of course technology is problematic, but we have agency. In my work I am quite literally freezing moments and capturing. And it is important to me that I can do this at any time since, like many artists, I hold a full time job, have a family to care for, etc. That technology allows me to continue my craft any time, any place. What is worth remembering? How do we hold on? In some ways, I think of my work as documentation not in the historical sense because I alter and edit my images, but humbly, as a piece of the past. Over time, I have photographed a series of works of public schools, of the old Chocolate Factory, an empty lot that was once Broad and Washington, Hawthorne Playground slated for repair, and many others. At present, most of these sites have changed.
BH: Humans are peculiar, and I find joy in observing our odd and fascinating behaviors, particularly in public spaces. Seeing is where my process begins. My eyes are constantly scanning the environment, searching for moments that captivate me—a fleeting gesture, a striking interplay of light and shadow, or an unexpected interaction. Whenever possible, I capture these moments through photographs or quick gestural sketches, creating a visual archive to draw from later. Over time, this growing repository of images and sketches becomes a wellspring of ideas. While I may not always know immediately how I’ll use a particular photo or sketch, I often return to them, sometimes years later, to uncover new possibilities. Candidness is vital to my process. While I sometimes pose figures, I’ve found this can verge on the theatrical, detracting from the relatability and sincerity I seek. Instead, I labor over subtle shifts in tone and texture, investing my energy into the intricate details that bring visual authenticity to the piece. Ultimately, my goal is to create work that preserves the honesty and integrity of the figures I depict. Through meticulous observation and drawing, I hope to give these moments and individuals the space to speak for themselves.
Bios:
Delaware-based artist Brandan Henry explores themes of identity, solitude, and stillness through charcoal and graphite drawings. After high school, Henry enlisted in the United States Marine Corps, serving two tours overseas, including a seven-month deployment in Iraq, where he drew portraits of fellow troops to send to their families. Following his honorable discharge, he used the Montgomery G.I. Bill and Post-9/11 Bill to attend the University of Delaware, earning his BFA in 2013 and MFA in 2022. Henry is a recipient of the Delaware Division of the Arts Individual Fellowship and has exhibited internationally, including in Berlin, New York, Philadelphia, Baltimore, and Washington, DC. His solo exhibition Ebon Solus was recently on view at the Mezzanine Gallery in Wilmington, DE.
Theresa Rose lives and works in her beloved hometown, Philadelphia. Her passion for the city fuels the content of her studio practice. She earned a BA in Art Education from Tyler School of Art, Temple University, and an MFA from the Pennsylvania Academy of Fine Arts. Her work has been featured in exhibitions at Fleisher Art Memorial, The Print Center and Marginal Utility. Rose founded Philly Stake, a city-wide micro-granting dinner event that funded creative community projects. A dedicated community advocate, she served as a Board Member of the Passyunk Square Civic Association for eight years. Rose previously held roles as Visual Arts Program Director at FringeArts and Public Art Project Manager for the City of Philadelphia. She also served as inaugural faculty in Moore College of Art and Design’s Graduate Social Practice Program. Currently, Rose is Managing Director of RAIR (Recycled Artist in Residency) in Tacony.
David Dempewolf is a Philadelphia-based artist, gallerist, writer, educator, publisher, and bookseller.