{"id":125783,"date":"2025-10-30T08:46:57","date_gmt":"2025-10-30T07:46:57","guid":{"rendered":"https:\/\/www.streifzugmedia.com\/?post_type=avada_portfolio&p=125783"},"modified":"2025-10-30T09:12:01","modified_gmt":"2025-10-30T08:12:01","slug":"in-motion-between-abstraction-and-figuration","status":"publish","type":"avada_portfolio","link":"https:\/\/www.streifzugmedia.com\/en\/bericht\/in-motion-between-abstraction-and-figuration\/","title":{"rendered":"In Motion \u2013 between abstraction and figuration"},"content":{"rendered":"
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BEST OF | Issue 04 | AUTUMN\/WINTER 2025\/26<\/span><\/p>\n

Last summer, within the sleek confines of the Drivers & Business Club Germany in MunicH, Paris Brosnan unveiled In Motion \u2013 his first major European exhibition and the formal launch of a long-term collaboration between Pantheon Art and Marcus Schaefer, art advisor and curator, framed by a city that balances engineering precision with cultural sophistication, the show marked the intersection of instinct, structure and velocity \u2013 a study in rhythm translated to canvas.<\/strong><\/p>\n

At just twenty-four, Paris Brosnan has already developed a visual language grounded in cadence. His paintings emerge through process rather than plan \u2013 fields of vivid colour and spontaneous lines where intuition becomes form. \u201cI let the colours, the movement, and the rhythm of the moment dictate where the work goes,\u201d he explains. The result is an aesthetic that straddles abstraction and figuration, echoing both the improvisational pulse of music and the gestural expressiveness of post-war painting.<\/p>\n<\/div><\/a><\/span>

Paris Brosnan, Hierarchies of Existance, 2023<\/span><\/p>\n

Instinctive. Unfiltered. Contemporary.<\/h2>\n

The In Motion series extends this dialogue between sound and sight. Within the layered compositions, silhouettes surface and dissolve; pigment behaves like percussion. There is an elasticity to his mark-making that recalls De Kooning\u2019s tension or the calligraphic motion of Cy Twombly, but without imitation. Brosnan\u2019s works carry the texture of youth and movement.<\/p>\n

Curated in partnership between Pantheon Art and Marcus Schaefer, the Munich presentation was more than a debut \u2013 it was a deliberate act of cultural positioning. Pantheon, the London- and Los Angeles-based studio known for bridging art and entertainment worlds, approached the exhibition as both aesthetic and infrastructural statement: a signal that Brosnan\u2019s practice is to be encountered seriously, not as an extension of celebrity, but as an evolution of craft. \u201cMunich was chosen for its balance of history and innovation,\u201d notes Schaefer. \u201cThere\u2019s a collector base here that understands motion \u2013 the relationship between discipline and expression.\u201d It was a fitting backdrop. The DRIVERS & BUSINESS CLUB GERMANY, typically a space of luxury machines and industrial design, offered a conceptual mirror to Brosnan\u2019s paintings. Each canvas vibrated within the architecture, an echo of engines translated into pigment.<\/p>\n<\/div><\/a><\/span>

Paris Brosnan, Cosmic Twins, 2023<\/span><\/p>\n

Unexpected highlight<\/h2>\n

That dialogue between art and engineering reached a literal crescendo when BMW Classic \u2013 long a patron of design heritage \u2013 staged an unannounced intervention: three original James Bond cars were rolled into the courtyard midway through the evening. The gesture, though unexpected, deepened the night\u2019s theme. Precision met instinct; velocity met stillness. Guests drifted between vehicles and canvases, the boundaries between spectacle and reflection blurring.<\/p>\n

For Brosnan, In Motion reflected an inward response to the velocity of contemporary life \u2013 \u201ca way of processing the noise,\u201d he noted, \u201cof finding a kind of meditative tempo in the act of making.\u201d That search for tempo connects Brosnan\u2019s work to a wider generational current within contemporary painting. In an age defined by overstimulation, young artists are reclaiming gesture as a form of resistance \u2013 a return to the body, to intuition, to the mark as evidence of presence. Brosnan\u2019s contribution is particularly interesting in this context: his fluency across visual and cultural languages allows him to bridge scenes and audiences rarely aligned.<\/p>\n<\/div><\/a><\/span>

Paris Brosnan, Tunnels, 2022<\/span><\/p>\n

Come to stay<\/h2>\n

If In Motion \u2013 Munich suggested arrival, it also proposed continuity. The works themselves resist completion; they hover between expression and reflection, between gesture and erasure. Their rhythm lies not in their colour alone, but in the space they occupy \u2013 a visual tempo that recalls the pulse of a city in motion. At the DRIVERS & BUSINESS CLUB GERMANY, as the night drew to a close and guests moved between the Bond cars and the final canvases, there was a collective awareness of having witnessed a shift \u2013 not simply a debut, but a reframing. Paris Brosnan\u2019s rhythm had entered the room, and from that point on, it refused to leave.<\/p>\n<\/div><\/a><\/span>

Izzy Macdonald, Marcus Schaefer and Paris Brosnan at \u201cThe Charles\u201d Munich<\/span><\/p>\n<\/div>

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Contact<\/strong><\/p>\n

Art Enquiries: kim@pantheonart.com
\nwww.pantheonart.com<\/a>
\nInstagram: @paris.brosnan<\/p>\n<\/div>