Before the Fight
Before the Fight





Deborah Hake Brinckerhoff

    My place of origin holds tremendous influence over me, and therefore my work. As a young child in rural Vermont, I grew up with NPR as continual background, and the woods as my playground. If I wasn’t in a tree or tree house, I was drawing. I have loved painting and drawing for as long as I can remember.
     Art was always my favorite subject, and after completing all possibilities offered at my high school, my art teacher arranged for me to take classes at Dartmouth, the local college. I was not prepared for my first class, a nude figure drawing class for which my middle school art teacher was the male model. Eventually my color faded, and I began to learn how to draw in earnest. I continued to study and experiment with mixed media, water color, acrylic, and learn how to stretch and prepare my own canvas. When I learned how to drive, I threw supplies in the trunk and took off over rutted dirt roads to favorite spots, fields, farmlands, cows, and trees. I had no idea this was “open air” painting. The summer between junior and senior year in high school I attended Wesleyan summer art program. I was introduced to printmaking, oil paint, gesture drawings, and most importantly, to the fact that art school existed. At art school I learned more than I ever imagined, and worked harder than I thought possible. After my freshman year I lived off campus with a good group, took classes at Brown (taking advantage of the exchange program the two schools have), took up sculling, and fell deeply in love with Rhode Island.

Aritst Statement
I paint quickly, intuitively, and work much of the surface at the same time. The tension of composition as well as the emotional and physical weight of a painting is important to me. By that I mean that I want to convey emotion through abstract expression using line and gesture drawing as foundation, and the paint, color, shapes, and movement as the meat that holds the whole thing together. Currently, most of my work is figurative, and I pay particular attention to the question of where in the body the figure holds its “weight” (both literally and figuratively). I’m always asking the question of what “story” the figure can offer the viewer and what emotion does the image conveys? I’m intrigued by where the story of the viewer and the story of the image converge, and how the two connect. As my life changes, so does my work and subject matter. Over time it has been the thoughts, questions, and emotions behind the work that tend to hinge the years together.

Phillips Gallery
444 East 200 South, Salt Lake City, UT 84102
(801) 364-8284

Terzian Galleries
625 Main Street, Park City, UT 84060
(435) 649-4927

Galeria JAN
1250 Prospect St., Suite B21
La Jolla, CA 92037
(858) 551-2053

Contact information
158 East 200 South ste. 303
Salt Lake City, UT, 84111

Recent Exhibits:

2013 Springville Museum Annual Spring Salon, Springville, UT
2013 Two-Artist Show, Terzian Gallery, Park City, UT
2001-2014 Multiple Group Shows
- Phillips Gallery
- Terzian Gallery
- Galeria Jan (La Jolla, CA)
- Bennett Street Gallery (Atlanta, GA)
2013 Springville Museum Annual Spring Salon, Springville, UT - Award of Merit
2012 Phillips Gallery, Salt Lake City, UT
2008 Phillips Gallery, Salt Lake City, UT
2007 Solo Show, Terzian Gallery, Park City, UT
2006 Solo Show, Terzian Gallery, Park City, UT

Utah Artists Home Page


Red Chair
Red Chair