Clancy Philbrick graduated Vassar College in 2008 and has since pursued a nomadic lifestyle grounded only by his artistic practice. His work has been exhibited across the USA and has recently been featured on BBC, Playboy, The Huffington PostMaxim, The Daily Dot, and Ethiopian TV. Clancy currently lives and works in Philadelphia, PA where he is bound by his 6-month yoga membership and his amateur baseball team. 


I aim to make artworks of public revelation rather than just personal expression. My work does not always show one common style. Instead I allow my polyphonic paintings, conceptual pieces, installations, and sculptures to be identifiable by their conversation and rhetoric: masculine vulnerability, societal-critique, mindfulness and unity.


NUTSCAPES, Ongoing Collaborative Photographic Project

"It's massive." - Bradley Cooper

"You need to get that checked."  - Sienna Miller

Nutscapes is a collaborative and unifying conceptual art project that employs masculine vulnerability and humor to explore mankind's role in the natural world through the subversive lens of social-media and modern technologies. 

Nutscapes began in 2007 while hiking in New Zealand. I shot only a dozen or so more over the following few years before actively re-pursuing the project with a creative partner in 2012. Together we amassed a large collection of Nutscapes and created to share them while simultaneously recruiting other collaborators. In 2013 we shifted our platform to Instagram in order to explore the use of social-media to encourage more global participation and unity. We found great success on Instagram in terms of getting more submissions and increasing the size and scope of the project before we were shut down due to censorship issues. Recently the art project has shifted from the Nutscapes themselves to the bigger picture of the energy, media, participation, and viral iterations and their effects that surround the work. 

In the formal regard Nutscapes create dynamic relationships within the photographic plane. Traditionally the focus of landscape photography has been in the middle ground and background (think Ansel Adams). Rarely do we ever see any sign of the photographer themselves. With that approach we, as the viewer, are shown to believe that we are alone in the wilderness. Nutscapes subverts this idea and approach by breaking up the foreground and shifting the plane through which we view these landscapes. Also by squarely placing the photographer and, through the anonymity of the testicles, the (male) viewer, within the frame Nutscapes subvert traditional photographic approaches while also creating a more unifying experience.   

Interestingly, the new fad of the selfie also achieves the latter. However, where much of the selfie culture is focused around self-obsession and an individual capturing the just-so-perfect facial expression or the fire-emoji-look-in-the-mirror, Nutscapes offers a traditionally un-beautiful and anonymous selfie. This concept speaks to both the empowerment involved in owning what societal norms dictate as potentially “repulsive”, and the selflessness represented in the composition and act of creation.


THE ENTHALPY of FUSION, 2015/2016 Paintings

"I'm in a maze. I'm feeling conflicted within my brain. Lord, these contradictions got me feeling strange." -Oddisee

This process based work explores both a micro and macro view of separate entities coming together to make a whole.  From individual depressive and manic states of consciousness, creation, and emotion to a global view of cultures clashing together through immigration, war, refugees, and even the banalities of everyday life in the hyper-connected 21st century, this work intentionally connects dark and light, gravity and levity without apology. It pins frenzied gesture with distant affect, aggressive passion with flattened flaccidity, and ethereal calm with carnal yearnings. Each painting is a manic inducing depressant, freezing a melting point in its release. 


1,001 SELF PORTRAITS W/ EYES CLOSED2013 Drawing Installation