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KBAA: You\u2019ve said that building images with the written word is your primary visual focus. Did your passion for writing or visual art develop simultaneously or at different times?<\/h3>\n\n\n\n
Bryan:<\/strong> The two veins of my work developed in relative succession, the written word being the inception from a younger age with an obsession of literature, ideas, and poetry; a visual appetite developed later in my college years. College was when both interests collided into the direction I\u2019ve been pursuing ever since.<\/p>\n\n\n\n <\/p>\n\n\n\n Bryan:<\/strong> For me, the words becoming an added layer of content that is visually interesting when someone decides to step closer and investigate. The fact that there is a whole other world inside a world has a lot of appeal to me \u2014 a world that makes up a bigger world with little parts and little phrases peeled from a larger narrative. The words are not just a compliment but the nuts and bolts, the beams and columns of whatever the idea in the image conveys. Even if the idea is nebulous the text can give clues to its nature and comment or use metaphor to extrapolate or expand on the idea. Words can tell parts of the story only hinted at with a visual clue.<\/p>\n\n\n\n <\/p>\n\n\n\n <\/p>\n\n\n\n Bryan:<\/strong> The pursuit of perfection, while elusive, is for me something definitely worth chasing. Through the pursuit I feel an evolving depth to the work and the figures in the work. The idea of really making something come to life with every detail, not in an illusory way but in the way that really conjures it into existence, is an attempt to carve out the true nature of the thing being drawn.<\/p>\n\n\n\n <\/p>\n\n\n\n Bryan:<\/strong> Working on that large of a scale has always had that allure for me. There\u2019s always these mountaineering metaphors and analogies in my head, like climbing Mount Everest for the first time. It just seems like such an epic undertaking, one that is addicting. I\u2019ve always drawn or painted large but once I started doing it on giant walls the statements and ideas had to be that much clearer because they were larger, which is challenging. The opportunity to evolve my work in such a way that refines the clarity and seeks that exactitude I spoke about is something I am truly grateful to be able to pursue.<\/p>\n\n\n\n <\/p>\n\n\n\n <\/p>\n\n\n\n Bryan:<\/strong> I feel like the location is everything. Not only does the specific wall speak to the shape of the piece and how it is going to evoke the idea, but the surrounding area is always very integral to whatever the idea is. My thought is that the mural not only has to speak to the people who view it but also to the space that it will live. It has to make sense that those images or those ideas are specifically communicating in that specific place. I definitely take cues from the environment, the history, the landscape and the culture of the area, and attempt to distill that down into less obvious iconic forms that are evocative of that research.<\/p>\n\n\n\n <\/p>\n\n\n\n <\/p>\n\n\n\n Bryan:<\/strong> People are always so kind. I feel lucky to get to talk with people during the making of a project or even after its finished, hear their stories or their thoughts on the work, or how they relate it to things in their own life or things going on in general. A few stick out but one I recall is talking with a gentleman who was a veteran, walking his dog early in the morning. I was just getting started and he came up and just watched for a while but then asked some questions. It seemed like he was having an emotionally hard time. We talked about the work, about his life, and after he thanked me with a big hug and started crying a bit. He told me it was a gift and to just keep making work. That has always stuck with me.<\/p>\n\n\n\n <\/p>\n\n\n\n Bryan:<\/strong> During the making of the mural I was able to sneak over to the de Young Museum during a rainy day when I couldn\u2019t work and I caught the Monet exhibit of all his water lilies. It was breathtaking! I\u2019ve also been going down the rabbit hole of a lot of David Hockney work too. It\u2019s hard to pin it down to one piece.<\/p>\n\n\n\n <\/p>\n\n\n\n Bryan:<\/strong> The Venice Biennale \u2014 the big dream!<\/p>\n\n\n\n <\/p>\n\n\n\nKBAA: What is it about words that you think compliments visual art?<\/h3>\n\n\n\n
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<\/figure><\/div>\n\n\n\nKBAA: You have described yourself as having a fascination with exactitude and precision. Have you always been this way and how do you think it has shaped your growth as an artist?<\/h3>\n\n\n\n
KBAA: What is it about mural work that inspires you?<\/h3>\n\n\n\n
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<\/figure>\n\n\n\nKBAA: How much influence does the location of a piece your working on have on the piece?<\/h3>\n\n\n\n
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<\/figure><\/div>\n\n\n\nKBAA: What is a memorable response you\u2019ve had to your artwork?<\/h3>\n\n\n\n
KBAA: What is a piece of art that has inspired you recently?<\/h3>\n\n\n\n
KBAA: What is your dream project to work on?<\/h3>\n\n\n\n