December 16, 2015 - Mark Segal, The East Hampton Star
"'I’m very uninterested in subject matter,' Eugene Brodsky told a recent visitor to his East Hampton studio, although he has also said that 'the sources for my work start from images I come across.' In his artworks, things are what they seem, and yet there’s more than meets the eye."
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December 2, 2014 - Mark Segal
“Plans,” an exhibition of recent ink-on-silk works by Eugene Brodsky, an artist with studios in East Hampton and New York City, is on view at Sears-Peyton Gallery in Chelsea through Dec. 20.
The works reflect Mr. Brodsky’s fascination with the blueprints and sketches of significant 20th-century architecture, especially “the worked-on, tattered, erased, and notated records of how something came to be.” Each piece fuses his vision with that of an architect or planner, resulting in images that suggest, but do not replicate, their origins.
Mr. Brodsky has described these pieces as “essentially creating a jigsaw puzzle of silk,” a complicated process that includes drawing, collage, vector conversion, laser-cutting, inking, silk-stretching, pinning, and assembly, processes that, in the artist’s words, “remain mostly invisible to the viewer, who rightly just sees what’s there.”
January 1, 2012 - Cynthia Nadelman, ARTnews
"In this exhibition of Eugene Brodsky’s silk-screen paintings, the signature image, which appears in his work in various states and scales, is of lace-curtain-covered French doors partially open into a room. A section of an ornamented wrought-iron balcony is in the foreground. The metaphors here are rampant and quite poetic. Layers, silhouettes, openings, and textures—from solid to gauzy as well as transparent to translucent to opaque—play off against one another."
December 16, 2011 - Peter Frank, HuffPost
"Eugene Brodsky has always been preoccupied with the visual babble of our image- ridden environment and with the sensuous properties of this cacophony. His overt employment of silkscreened imagery in these latest paintings, large and small - combining oil on panel with silkscreen ink on plastic - clarifies and heightens that preoccupation, and that sensuosity. The method provides Brodsky's paintings with a new slipperiness - not a physical (much less subjective) superficiality, but a visual elusiveness that confounds our efforts to grasp these images as pictures of anything, even when they clearly are pictures of something. Their graphic quality is a matter not of text, even when displaying clearly notational qualities, but of texture. Brodsky thus stands athwart our tendency to literalize what we see, a tendency locked into place by our reliance on the computer. He warns, indeed struggles, against the tyranny of mere knowledge with his fugitive pictures and uneasy sense of pictoriality. Optical pleasure, Brodsky argues, is a perfectly legitimate form of information."