Reimagining an already imagined world, Brown's artistic simulacrum has taken a book-sized illustrated reproduction and recontextualises it again on a massive scale, firmly the placing popular imagery of science fiction into the art historical canon.
Painstakingly executed on an epic scale which the viewer can almost walk into, the extraordinary detail and technical virtuosity of Glenn Brown's Böcklin's Tomb (copied from 'Floating Cities', 1981, by Chris Foss), 1998, transports the viewer into another universe. cat., Domaine de Kerguéhennec, Bignan, 2000, pp. Hepworth, 'Last Night I Dreamt That Somebody Loved Me', London, May 2000, in Glenn Brown, exh. I am trying to decorate a work that is genuinely without faith' 'The science fiction paintings do have a sentimental religious subject: Jesus the Living Dead (After Adolf Schaller), 1997-1998, was always perceived as the view of Jesus from the cross thinking: 'My Lord why has Thou forsaken me Böcklin's Tomb (copied from Chris Foss), 1998, was a religious place of rest for an atheist I am not trying to fill the void, which is left by a lack of faith.
cat., Serpentine Gallery, London, 2004, p. 'I am not happy until I have disoriented viewers by disrupting their perspective and their perceived place in the world'
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