Yoko XXXVI is an editioned sculpture of Don Brown’s wife Yoko, a series which have been ongoing throughout his career. For Yoko XXXVI, he worked with the renowned Nymphenburg Porcelain Makers in Munich, Balvaria, over a two-year period, continuting to explore questions of representational perfection. His sculptural vocabulary harks back to classical antiquity and the elegance and idealism of neoclassical marbles such as Canova’s The Three Graces (1814-17), while also invoking Modernist realism as instanced by Degas’s La Petite Danseuse de Quatorze Ans (1881). The small scale and rarefied medium of this new work call to mind the porcelain miniatures that were highly fashionable from the eighteenth century, and which frequently presented theatrical ‘types’ or copies of classical artworks. Brown reworks that recherché tradition by evoking a modern-day figure in the lineaments of a neoclassical miniature. In Brown’s distinctive take on classical sculpture, the place of an idealised heroine is taken by the real-life figure of the artist’s wife in a casual pose. Yoko becomes a conflation of the generic and the individual.