Reggio Emilia will host “Dead God, Thank You,” a solo exhibition by artist Brad Downey, opening on April 30, 2026, at Palazzo Brami. This exhibition is the result of a residency for SPAZIOC21, part of the 21st edition of the European Photography Festival. Running until June 20, the show, accompanied by a critical text from Emanuela Mazzonis di Pralafera, invites a reflection on the connection between matter, time, and responsibility, starting with a direct engagement with the natural landscape.
The project centers on six pictorial works, each dedicated to a specific tree—pine, cypress, wild cherry, ash, oak, and laurel—chosen by the artist from the local environment. The process behind these creations is both radical and circular: the trees are photographed, felled, and then processed mechanically to reduce the plant material into a cellulose pulp. From this pulp, Downey crafts a paper upon which he then paints, using pigments derived from the maceration of barks.
The outcome is a series of images that function simultaneously as representation and residue, surface and origin. The trees, divested of their biological life, are presented in a new form, serving as traces of a cycle that both breaks and regenerates. The “black liquor” produced during the process—a dense fluid resulting from the processing—becomes an integral part of the artwork, contributing to the definition of tones and chromatic variations that distinguish each piece.
The title, “Dead God, Thank You,” introduces a tension that pervades the entire project. On one hand, it suggests a parallel between the tree and a sacred dimension; on the other, it alludes to a state of loss and responsibility. The artist’s intervention, therefore, implies a negotiation with nature, an action that engages with themes of consumption and the arbitrary processes of transformation initiated by humanity.
Born in Louisville in 1980, Brad Downey lives and works in Berlin. His artistic background is diverse: after a BFA in Documentary Film from the Pratt Institute in New York, he earned an MFA in Painting from the Slade School of Art in London. This dual perspective—between moving images and painting practice—is reflected in his work, which combines urban intervention, performance, video, installation, and drawing.
Since the early 2000s, Downey has developed a language characterized by the targeted use of irony and a strong focus on social and political contexts. His works question the invisible structures that organize urban space and landscapes, including marginal territories and border zones. He has exhibited in numerous international institutions, such as the Kunstraum Kreuzberg Bethanien in Berlin and MU Hybrid Art House in Eindhoven, and has participated in exhibitions and biennials across Europe and beyond.
With “Dead God, Thank You,” the artist continues this investigation by shifting the focus to natural matter, without abandoning the critical dimension that informs his work. The residency in Reggio Emilia thus becomes an opportunity to engage with a specific context and to construct a project that, while rooted in a place, opens up broader questions related to transformation and the very meaning of artistic creation.
