Brittany Boynton Mosier is an artist and illustrator living in DeSoto, MO and also living and working in St. Louis, MO
“But what happens when you take serious, timely, and conceptual subject matter then strip it of its pretentiousness and add a wink? Brittany Boynton.
Her body of work is the artistic equivalent of a Carol Burnett ear tug at the end of a sketch or Dolly’s blinding smile on the cover of Playboy. She knows. Culling content from both her personal history and enigmatic pop culture moments, she recreates and formats these vignettes into typically small-scale illustrations and paintings.
By removing iconic, obscure, or jarring images from the media “zeitgeist,” it allows for space. For room to understand the complexities of a single image. The pieces are witty access points for further exploration and catalysts conversation, without a prescriptive narrative. In this way, her work allows for freedom of discussion by minimizing the barrier of access to the subject and implied connotations.”
““I don’t want to be misunderstood for saying that the way forward for regionalism has to have something to do with turning regional points-of-pride into the subject matter of art. But if all provincial art managed to take up its place as cannily as Mosier’s Monaco installation, I’d start singing a different tune. Mark Twain Cave Rave was among the funniest, strangest, least pretentious, most honest, most exciting works of art I’ve seen in this town. It ran earnest circles around much brainier, more official current art, proving that serious effects can come from the jokiest of places. A lot of Cave Rave’s success stemmed from the fact that Mosier is flat out great at making an installation—she seems to understand installation as a medium. Cave Rave placed cheeky paintings and drawings alongside concocted ephemera, coy texts, and stupid visual gags. These all played perfectly on the compositional fact that things accrue meaning based on their contexts. A kiddish portrait of Mark Twain in Dayglo blues and pinks came off as great, since it was presented as the ridiculously corny lynchpin of an immersively corny experience. Mosier was bold or silly enough to believe there’s something aesthetically salvageable in postmodern roadside Americana. Every bit of it she could find was preserved, transformed, and presented in Cave Rave.”