Picasso’s Pink Vesuvius follows Lund’s on-going audit of visual and semantic morphology rooted in the ideas of early psychoanalysis. Exploring allusions between art history and collective visual memory, Lund applies abstraction to visual metaphors for the body to examine female form against its iconic representations and specific histories. Often investigating universal taboos in contemporary visual culture Brett’s work affects the beholder both cerebrally and optically, demanding immediate attention to and understanding of the work in various socio-historic contexts.
Lund’s sculptures often use the reconfigured body and incorporate geometric forms commenting on his interest in modernist aesthetics. Being the primary medium for the artist, Lund’s sculptural works take on a material logic, referencing funk art and proto-pop of the late 50s albeit with post-industrial twist. Incorporating shrink wrap, plaster, and fiberglass, Lund liberates from too literal associations and adds a strong gestural element to his subjects.
Lund’s two-dimensional work is inclusive of a similar to his sculpture expressive methodology. The paintings are built out of their own titles, two-dimensional anagrammatic structures and the use of stencil, offering intentional linguistic conundrum. Resulting covert, nameless tensions challenge notions of proximity, distance and the terror of flatness.