David Brooks was born in 1975 in Brazil, Indiana, USA. He studied at the Städelschule, Staatliche Hochschule für Bildende Künste, Frankfurt, The Cooper Union, New York and completed his studies at Columbia University, New York. David Brooks currently lives and works in New York, USA.
A selection of solo exhibitions include: CLAGES, Cologne; NADA New York Special Projects; American Contemporary, New York (2013); Centro Medico Santagostino, Milan, Italy (2010) and Armory New York (2010). His work has been included in group exhibitions at: Marlborough Chelsea, New York (2013); Rubell Family Collection, Miami (2012); Galerie für Landschaftskunst, Hamburg (2011); Tanya Bonakdar Gallery, New York (2010); MVSEVM, Chicago (2009). He presented his work Preserved Forest (2010) in MoMA PS1’s 2010 Greater New York show. In 2011, David Brooks showed his critically acclaimed Desert Rooftops, as part of an Art Production Fund commission in The Last Lot in Times Square.
Other Museums and galleries Brookes has exhibited at include the Miami Art Museum; Dallas Contemporary; Nouveau Musée National de Monaco; Bold Tendencies London; Sculpture Center, NYC; The Changwon Sculpture Biennale, South Korea; Blank, Beijing; Galerie für Landschaftskunst, Hamburg; James Cohan Gallery, Shanghai; Gavin Brown's Enterprise, NYC; Storm King Art Center, NYC. In 2010 he received a grant from the Foundation for Contemporary Arts, and a research grant to the Ecuadorian Amazon from the Coypu Foundation in 2012.
The work of David Brooks considers the relationship between the individual and the built and natural environment. His work focuses on how society implicates the natural world and also interrogates standardised perceptions of nature. His work investigates how cultural concerns cannot be divorced from the natural world, whilst also questioning the terms under which nature is perceived and industrialised. He often creates work depicting nature out of artificial materials in order to discuss the inherent tension existing between the manmade and natural world. Much of his work champions the organic and self-determined world of nature, which is evident in the works final outcome where manmade constraints and intervention in the maintenance or upkeep of the work have been deliberately removed.
Brooks questions what he describes as the ‘disconnect’ between projections or ideas of the environment, and the reality, and aims to counter a perceived lack of empathy, in which the natural world becomes hypothetical and removed. In a society so inundated with text and imagery, Brooks’ work suggests, we are at risk of becoming de-sensitised to our environments. His industrially-informed structures are frequently installed outdoors, in surroundings that highlight the dichotomous relationship between man and nature, such as urban parks or, as in the case of his acclaimed concrete stampede of animals before it was moved to a gallery space, in the midst of an area populated by wild sea birds.