Brazier’s practice focuses on the concept of time, a relentless and ever-present phenomenon. His work has evolved alongside his ongoing research, which is driven by a desire to better understand the passage of time.
Much of Brazier’s work is based around ephemeral and transient sculptural forms, the deterioration of which presents the reality of passing time to audiences, often instilling works with finite duration. Ice is frequently used as a primary material within temporary forms or assemblages that are arranged, and then left to decay over a period of time. The unique properties of ice facilitate the staging of such temporary works as live ‘events’ or ‘happenings’ – material performances clearly evoking the passage of time through visible changes occurring before the viewer’s eyes. The performative qualities of the works emphasise key themes of transience, futility and temporality.
The audience’s relationship to such works can be linked to Edmund Husserl’s model of internal time consciousness, which consists of perception, retention, and protention. This concept highlights the idea that all moments within the process are connected: the works are therefore not something to simply be seen by an audience, but something to be experienced.