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♪♪

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-Art is life, and I'm constantly
collecting information

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and basically putting it
in my knapsack.

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And then when I come
in the studio,

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I just empty that knapsack and
this is everything that's there.

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I am a painter,
abstract painter.

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I work with color theory
and color relationships

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in abstraction, yeah.

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This one has a reaction
with the blue

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as well as this one --
more subdued.

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A little subdued. Comes forward.
Comes forward.

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Very forward.

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Typically, a painting
will start from an idea,

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maybe something
that I've seen in life,

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maybe something
that I photographed

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and catalogued on my phone.

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There's so many different ways
where the spatial aspect

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of a painting can develop.

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I'm constantly thinking
of how to freeze time

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in a rectangle,
essentially,

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and have that information
that activates that space.

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Usually, each painting
starts with a study on paper.

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Then I'll just start
to experiment with color.

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Mixing colors is a very
intuitive thing for me.

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It's not something
that I plan or map out.

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One of these paintings,

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it may look like
there's six colors involved.

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Typically, there's between 20
and 30 colors in each painting

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that you can't even really see
unless you're up on it

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and you're experiencing it
and you're living it

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and you're welcoming
that curiosity

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to investigate and explore.

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I know that it's working when
I'm on it and I'm working on it,

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and I am fully engulfed
in color.

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That's when I know.

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♪♪

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I'm not really thinking at all.

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I'm really just appreciating
the flow of the brush.

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I'm trying to land in one area,

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and by the time I think
I've figured out that area,

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my eye has caught another

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and I've drifted off
into another place,

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and that motion is continuous.

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I'm really just kind of
moving with the painting.

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I mean, it's kind of
like your hair is in the wind,

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to be honest.

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♪♪

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Something that I care about

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is kind of erasing
the brush stroke

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so that there's no conflict

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with the information
that's being seen.

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It's all about
the push-pull dynamic.

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There's this saying
that sign painters use,

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is "Slip, slide, grip, glide."

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[ Laughs ]

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My process is actually
a very painterly process.

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The way that I paint is very
aggressive and kind of erratic.

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But at the end,
the paintings are seen flat.

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And that's really important
to me, that they're --

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that they're flat and legible
and there's no glare

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so that you can really
experience

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all the transitions of color

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that are happening
in the piece

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and you're constantly navigating
and exploring the work.

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♪♪

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Winston Wachter,
Brian's Seattle gallery,

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will showcase his paintings
at Seattle Art Fair this summer

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and will exhibit his work
in a solo gallery show

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in early 2024.

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Omni, Brian's London gallery,

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will feature him
at Untitled Art Fair in Miami

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at the end of this year
and at London Art Fair

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in January 2024.

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Between now and then,

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Follow Brian on Instagram
and check out his website --

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2eyes10fingers.com.

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♪♪