David Brothers

David Brothers is an American multidisciplinary artist and filmmaker. He is notable for his art installations and co-direction of the avant-garde film It Is Fine! Everything Is Fine. (2007). His work frequently examines the line between the artificial and the authentic, exploring surreal, fantastical, and dystopian themes.^[1] Brothers' photography has appeared in publications such as Rolling Stone,^[2] Maxim^{[citation needed]}, Popsmear, SLUG, Dear Dave, and Stuff magazines.^[3]

David Brothers
Nationality	American
Occupations	Artist filmmaker
Style	Installation art
Website	davidbrothers.net

Career

Artistic Career

Brothers began producing, writing, and acting in radio dramas, with notable projects including The Church of Jayne Mansfield and The New Atomic Age.^[3] He wrote, illustrated, and published a variety of works, including comic books, pamphlets, religious tracts, trading cards, and Tijuana bibles, displaying an interest in unconventional storytelling and use of multiple media.^[4]

By day, Brothers worked as a film industry set designer, constructing immersive and believable spaces.^[5] His professional experience constructing sets informs his artwork, where he builds and photographs sets in his studio, creating images that blur the boundary between artifice and reality.^[6] A recurring theme in Brothers' artwork is the exploration of constructed environments.^[4][7] His sets invite viewers to question the distinction between the artificial and the authentic.^[5][8]

Filmmaking Career

Brothers has created both animated and live-action films, with three of his works featured at the Sundance Film Festival. Brothers co-directed the short film The Backward Swing (1987) and the feature film It Is Fine! Everything Is Fine. (2007) with Crispin Glover.^[9] The latter project is the second film in Glover’s It trilogy.^[10] An intensely personal and surreal film, written by and starring Steven C. Stewart, that examines themes of disability, sexuality, and psychological complexity.^[11] Critics have praised the film for its audacity and originality, with Time Out calling it “profoundly uncomfortable and eerily poetic.”^[12] The New York Times noted the film's unique vision, blending stark realism with surreal imagery to challenge societal preconceptions.^[13]