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-Art is life, and I'm constantly collecting information
and basically putting it in my knapsack.
And then when I come in the studio,
I just empty that knapsack and this is everything that's there.
I am a painter, abstract painter.
I work with color theory and color relationships
in abstraction, yeah.
This one has a reaction with the blue
as well as this one -- more subdued.
A little subdued. Comes forward. Comes forward.
Very forward.
Typically, a painting will start from an idea,
maybe something that I've seen in life,
maybe something that I photographed
and catalogued on my phone.
There's so many different ways where the spatial aspect
of a painting can develop.
I'm constantly thinking of how to freeze time
in a rectangle, essentially,
and have that information that activates that space.
Usually, each painting starts with a study on paper.
Then I'll just start to experiment with color.
Mixing colors is a very intuitive thing for me.
It's not something that I plan or map out.
One of these paintings,
it may look like there's six colors involved.
Typically, there's between 20 and 30 colors in each painting
that you can't even really see unless you're up on it
and you're experiencing it and you're living it
and you're welcoming that curiosity
to investigate and explore.
I know that it's working when I'm on it and I'm working on it,
and I am fully engulfed in color.
That's when I know.
♪♪
I'm not really thinking at all.
I'm really just appreciating the flow of the brush.
I'm trying to land in one area,
and by the time I think I've figured out that area,
my eye has caught another
and I've drifted off into another place,
and that motion is continuous.
I'm really just kind of moving with the painting.
I mean, it's kind of like your hair is in the wind,
to be honest.
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Something that I care about
is kind of erasing the brush stroke
so that there's no conflict
with the information that's being seen.
It's all about the push-pull dynamic.
There's this saying that sign painters use,
is "Slip, slide, grip, glide."
[ Laughs ]
My process is actually a very painterly process.
The way that I paint is very aggressive and kind of erratic.
But at the end, the paintings are seen flat.
And that's really important to me, that they're --
that they're flat and legible and there's no glare
so that you can really experience
all the transitions of color
that are happening in the piece
and you're constantly navigating and exploring the work.
♪♪
Winston Wachter, Brian's Seattle gallery,
will showcase his paintings at Seattle Art Fair this summer
and will exhibit his work in a solo gallery show
in early 2024.
Omni, Brian's London gallery,
will feature him at Untitled Art Fair in Miami
at the end of this year and at London Art Fair
in January 2024.
Between now and then,
Follow Brian on Instagram and check out his website --
2eyes10fingers.com.
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