Austen Brantley Contextualizes Figuration
Photo of sculptor Austen Brantley with his bronze memorial of Elizabeth Hamer, now permanently installed in Royal Oak, MI. Photo by Kemagery Studios. Courtesy of the artist.
The tranquil, serene sculptures by Detroit-based artist Austen Brantley honor Black history as monoliths of empowerment, memory, and austerity. Rich with textual details, his work highlights the artist’s touch and solicits slow-looking with a sense of emotional authenticity. Having been exhibited at locations such as M Contemporary Art, the Indianapolis Art Center, and the Marshall Fredricks Sculpture Museum, his mostly figurative work extends into both public and private spheres. Last year, in Royal Oak, Michigan, Brantley completed a statue of Elizabeth Hamer, who escaped slavery in 1856 while pregnant. In this interview, he discusses an upcoming piece portraying Joe Louis, his relationship with figuration, and how he creates complex surface textures.
Xuezhu Jenny Wang: The first question I have is about figuration. Figurative work is often considered a classic means of expression. How do you feel it fits the themes you explore in your work, particularly Black history? And how did you land on figuration as something central to your art?
Austen Brantley: The human subject has always fascinated me. As a child, I often drew the human figure—just doodles and sketches. Its personal meaning became deeper in high school when I started doing ceramics. I remember classmates commenting that it was one of the most unoriginal things to work on. That reaction intrigued me. Figuration for me is a way to communicate my feelings, much like those childhood doodles. Creating figures felt introspective. The poses I chose reflected my emotions, and it was a transparent way of expressing thoughts and feelings.
Austen Brantley, Interlude, 2024. Ceramic with bronze oxide coating on marble base. Photo by Kemagery Studios. Courtesy of the artist.
XJW: How has your work evolved over the course of your practice?
AB: As I learned more about ceramics, my work evolved. Over time, I realized that ceramics is a dialogue—between creating sculptures and understanding the science behind the materials. I don’t set rules for myself. I experiment constantly to create interesting surfaces. Sometimes, I feel like a mad scientist in my studio. A year ago, I participated in a juried exhibition in Jingdezhen, China, about the spirit of ceramics. It was an honor to be part of it. The exhibition emphasized understanding materials, breaking limits, and being sensitive to the medium. That knowledge deeply influences my practice now.
XJW: How do you decide which medium to use for different projects?
AB: I think about how the viewer experiences the piece. Ceramic sculptures feel more intimate and work well in gallery settings. Bronze sculptures, on the other hand, are great for outdoor and public works. My ceramic pieces are all one-of-a-kind—no copies—which adds a unique quality. I think that understanding also resonates differently with viewers.
XJW: Sometimes you portray historical figures who may not have extensive visual documentation. How do you create their likeness in those cases? How do you balance realism and fiction?
AB: I use AI as a tool. I gather images from research or historical archives and then input them into AI. It helps me visualize the subject from different angles. AI doesn’t sculpt for me, but it enhances my understanding of the subject.
To your point about balancing realism with imagination, I think it’s a blend. I recently visited the Dalí Museum in Spain and was inspired by his ability to merge realism with surrealism. I aim to create pieces that feel real but also dreamlike. That balance is a goal of mine.
Austen Brantley, Power in the Struggle. Bronze and granite base, installed at the Freedom Monument Sculpture Park in Montgomery, AL. Courtesy of the artist.
XJW: Could you share more about your upcoming public project on Joe Louis and his life outside the ring?
AB: It’s still in the early stages. This piece depicts Joe Louis not as a boxer but as a golfer. He notably broke down racial barriers in the sport and hosted annual golfing tournaments. The project contrasts with the other sculptures of him in Detroit, like the famous Joe Louis Fist. I want this piece to honor his legacy while showing a different side of him at a place of relaxation and leisure that the Joe Louis Greenway is. This goal of evoking calmness resonates with me, as I’ve spent years refining my ability to create sculptures that achieve that mood.
Sculptures can convey different energies. For example, in Italy, I studied Michelangelo’s David and Bernini’s David. Michelangelo’s version is stoic and more posed, while Bernini’s is dynamic and full of movement, showing David mid-action. Both evoke distinct feelings. For this project, I’m focusing on a quieter, more serene energy.
XJW: A lot of your work deals with Black history and the legacies of pioneers who came before us. What does the present moment mean to you, and where do you think we are politically and socially right now?
AB: America is such an interesting place to live, and the world at large now is fascinating. I do my part by creating something I consider humanitarian. Creating figurative sculptures feels like one of the most human things you can do, and it’s something I’ve dedicated my life to. I can’t control much beyond that. The art world itself is also a complex and confusing space to navigate. Sometimes, I feel like my ancestors who endured so much hardship in this same country—I feel connected to these struggles. Therefore, as an artist, I feel motivated and empowered to create work that is healing and to be successful, because my success feels like proof of their success—proof that their sacrifices meant something.
Austen Brantley, Tuskegee Airmen Memorial. Bronze and granite base, installed at Jefferson Field in Rouge Park, Detroit, MI. Photo by Kemagery Studios. Courtesy of the artist.
XJW: In our generation, what work do you think still needs to be done to continue that legacy?
AB: I think a lot of work is already happening. Monuments to Confederate generals and other problematic figures are being taken down. For example, there was a statue of Abraham Lincoln in a condescending pose next to a formerly enslaved man—it’s been removed. There are also more opportunities for Black artists in the art world now. I keep using my voice and my work to contribute. I even call myself “Mr. Black Power” because of the fist sculpture I made in Montgomery. That piece is significant to me because I’ve faced racism my whole life. I went to schools that were predominantly white, and from second grade through high school, I dealt with racism daily—subtle or not, it was always there. I’ve channeled those experiences into my work, which has made me stronger and helped me discover who I am.
XJW: What traditions or artists are you looking at as sources of inspiration?
AB: I’m very inspired by African art, especially the finishes and techniques. My training in Europe also influences me, so my work is a blend of those traditions. I’m not necessarily looking at specific artists—it’s more of a cultural influence. In European traditions, there’s a focus on individual artists, their works and achievements. But in African traditions, it’s not competitive like that. Art would be more about spiritual practices, shamanism, or honoring the dead, to name a few. Interestingly, many tribes didn’t even have a word for art the way we define it. It’s such a different perspective.
This interview has been edited for length and clarity.
