Polarising as north and south, light and dark, Bromley: Light after Dark is an exploration of pain, love, mental health and creativity, and the core being of artist, David Bromley.
The film explores David Bromley’s singular creative process, his mental health journey, and the claims that his art is too commercial, through interviews with musicians, friends, and colleagues.
No kumbaya or reverent genuflection of a canonised art angel, the picture has critics give frank insight into the divisive nature of David’s work. As art writer Andrew Frost puts it, “He’s achieved a Warhol-level of ubiquity and that I think in many ways has been both his triumph and his downfall.” Yet close friend and actor David Wenham sees the gift in David’s prolific output. “He is this uncontrollable creative force that just keeps coming and coming and coming.”
BROMLEY: LIGHT AFTER DARK peels back the layers of anxiety, phobias, and self-destruction to prime the humour and energy that lies beneath.
Told largely in observational documentary style, the story of David’s journey wouldn’t be complete without his wife Yuge, and their children. It seems largely idyllic, a playground of painting, a cornucopia of creativity. But like all playgrounds, there can be pain, the swings and unruly roundabouts, the slippery slides, where elation can come a cropper.
Bromley’s influence on Australian and international art may be short lived, but it is alive, and Bromley lives it. The film follows the Bromleys as they seemingly frolic through their larrikin lives, while interviews with friends, critics and musicians add insight on mental health, the creative process, and the commercialisation of art.
Ratbag, larrikin, outlaw of art, David Bromley is a unique and playful character, unquestionably an exceptional personality possessed of a colourful sense of drama, dash and vigour. Observing his life, art practice, and resilience makes for an entertaining couple of hours.
David Bromley (@bromleyandco) is one of Australia’s most iconic, brilliant and prolific artists. In his recent biographical movie documentary, ‘Light After Dark’ (exquisitely directed with the keenest eye by Sean McDonald @smcdphotography), the audience is invited to look past the narrowminded critics who have judged David’s work for being “overproduced” or “purely decorative” and are given the opportunity to appreciate the authentic person behind the artwork and learn about David’s ‘why’.
David candidly shares his lifelong mental fragilities and struggles which began in adolescence, including crippling anxiety, phobias, bipolar and suicide attempts. David shares how art making helped him find love and beauty in the world, which ultimately “saved his life”.
What I love so much about David’s authenticity in this doco is he doesn’t shy away from his lived experience but instead walks towards his truth through humour and candour. This “I am who I am” strength helps shift the stigma of mental illness, especially within the hard to crack pretentious art world, and invites the public to start an honest conversation about how art making can truly heal. This relational understanding ultimately provides hope and possibly a bridge towards deeper compassion for one another through art within our community. (10/10 would recommend you see this movie @bromley_film).
This leads me to Mic Porter’s recently painted mural in Balaclava, Melbourne. Mic and Bromley are good mates, which is no surprise as they lead with the same big heart and glorious authentic intention. Mic’s latest work is currently being buffed by the very council that paid for it to be painted due to some of the local community claiming it to be antisemitic and deeply offensive. Anyone that knows Mic’s work (the image above hangs proudly on my wall), knows this is so far from Mic’s intentions it is beyond ridiculous (I implore you to learn more about Mic and his creative process, @micporterart).
So, what is my point?
I believe judgement in art arises when there not only ignorance in so-far-as personal subjectivity, but also if there is a monetary exchange. A financial transaction or change of ownership somehow shifts the intangible form of the artwork, and suddenly the new owner, not the creator, feels it is within their right to judge the work however they deem fit. At worst, the artist’s personal truth behind the image is totally disregarded and misunderstood. (As a side note I feel this is what has happened time and time again to many really awesome graffiti artist’s work, and frankly, it’s so saddening it needs to stop).
One of my favourite phenomenological art therapy books, “What Do You See?”, (Betensky, 1996), suggests only the artist can truly judge their own artwork. Who are we to make judgment of someone else’s art? Art as a Way of Knowing, so to speak (Allen, 1995). For any artist: the gallery artist, the graffiti artist, the street artist, the novice art maker learning a new skill – art is a gift. Our personal creative journey is a third voice we all have within us and is a way for us to see ourselves in another dimension. So, if we bravely share our creativity with another person, it can be a way of being seen, but unfortunately, we risk being judged. Wouldn’t it be great if in our community, the intention of art making could focus less on judging the end artwork, but more so on the creative process behind it? Couldn’t this help us lean towards deeper compassion for one another which may assist emotional growth and/or healing?
I am so passionate doing the work I love, as an art therapist. I fundamentally believe that anyone brave enough to be creatively expressive deserves to be seen and heard with compassion and understanding not judgement, however they choose to express themselves.
Clare Stansfield-Smith is the Founder and Principal Art Therapist of Embody Art Therapy.
@embody_arttherapy
Email: [email protected]