The Los Angeles Times, March 30, 1995:

Keith Broadwee's body pops up in each body of work he makes. In the past, it has served as a canvas for his juicy, pseudo-Expressionist paintings; as a stage on which finger-puppets frolic; and as a prop in do-it-yourself photographs of modern masterpieces. This time around, Broadwee turns himself into a human spray-gun, squirting colorful streams of paint out of his derriere.

At Ace Contemporary Exhibitions, the largest gallery contains the result: 50 abstract canvases, ranging in size from 2-by-3 feet to 6-feet-square, saturated with gallons of paint in a rainbow of colors and an impressive variety of splatters, stains, stripes and runs. Four giant photos and two videos show the artist hard at work in his studio.

Before you discover how these paintings were made, they appear to be a competent homage to a slew of minor Modernists. Boadwee's abstractions recall Sam Francis' joyous bubbles of color, Morris Louis' snappy peninsulas of pigment and Yves Klein's luxurious monochromes.

Only after you learn that every drop of paint and gestural flourish on Boadwee's canvases was applied via his backside does his art's kick begin to be felt.

†