It might be argued that nothing in art is more powerful than color exciting, potent, at times even dangerous its possibilities for expression are endless, and are the keynote to the “True Colors” summer exhibition.
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Drawing motivation from the misshaped bodies that litter the accounts of present day painting, Braunig adjusts these inheritances to the distresses and dangers of contemporary life. In later works, her figures appear to turn on themselves, testing their very own points of confinement and those of the settings that bind them. While reminiscently dystopic, her works of art additionally unpretentiously enable their defenseless subjects, pushing a humanist craftsmanship for an age in which singular experience appears to be debilitated by powers outside our ability to control .
In photography and cinematography, perspectian question and its encompassing territory that contrasts essentially from what the protest would look like with a typical central length, because of the relative size of adjacent and inaccessible highlights. Viewpoint twisting is controlled by the relative separations at which the picture is caught and seen, and is because of the edge of perspective of the picture (as caught) being either more extensive or smaller than the point of view at which the picture is seen, consequently the obvious relative separations contrasting from what is normal. Identified with this idea is pivotal amplification - the apparent profundity of items at a given amplification.