bcb: Open studio starts today, 4/29/11

Friday, April 29, 2011

Open studio starts today, 4/29/11

The annual Toast Art Walk starts today at 6 pm. My studio will be open for visits. I'm excited to be showing the new pieces I'm working on. My new work is getting more abstract, but is still firmly rooted in correct internal anatomy. I like this interplay between loose and rigid I'm seeing. Here are two of the pieces I'm showing tonight:

I always enjoy opening my studio. Once during a studio visit someone asked me why I called my work "art." She was referring to this piece:

A pretty interesting conversation ensued. I've wondered the same at times, especially with my very tight anatomical work. I believe Marcel Duchamp answered this question about what art is definitively (at least for now) with his ready mades. It's all about the intention of the artist. To interpret lamely, if an artist calls it art, it's art.

The hours are Friday 6-9pm, Saturday 1-6pm, Sunday 1-6pm, and Monday 1-6pm.

My address is 67 Greene Street, between Broome and Spring, New York, N.Y.

The artwork is for sale. Most are limited editions of seven with one artist proof. I look forward to seeing you this weekend!

Based upon what I'm seeing in these photos let me get back to cleaning.

2 comments:

Jan Friman said...: Just Love your pieces. Wish i could have them on my wall :); April 30, 2011 11:40 PM
bryan christie said...: Hi Jan. Thank you!

Actually, you can have them on your wall. They are for sale. For fear of sounding like a used car salesman I'll leave it at that. Let me know if you're interested in a specific piece.

Thanks again.
Bryan; May 1, 2011 8:57 AM

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Bio

Bryan Christie was born on May 5, 1973, in New York City, toward the end of the sexual revolution, in a city very different from today's. His family moved to Seattle to experience the suburban middle-class American dream; within a year his parents were separated. Bryan and his mother returned to New York, where he grew up surrounded by his mother’s oil paintings, the smell of turpentine, the constant presence of her artist friends, and a deep and abiding sense of the spiritual in the natural world and the chaos of our human sensibilities. He was a gifted musician, playing saxophone in LaGuardia High School of the Arts, gigging in Manhattan jazz clubs by the time he was 19 and then attending the Manhattan School of Music.

Realizing that music was not the medium through which to express his muse but desiring to eschew his mother's vocation and the volatile lifestyle he assumed it required, Bryan began working at his father's studio as a scientific/medical illustrator and then, in 1998, took a job as an assistant art director at Scientific American magazine. He fell in love with science, witnessing in the editors the same passion he had seen both in his mother's art and his own music. He started to join his artistic and scientific pursuits, coming to believe, as Einstein did, that “all religions, arts and sciences are branches of the same tree … directed toward ennobling man's life, lifting it from the sphere of mere physical existence.” It was here that Bryan began to produce his first anatomical illustrations.

In 2000, Mr. Christie left Scientific American to pursue a freelance career. His first award-winning illustration was for Newsweek in 2001. He continued to define his aesthetic, focusing on the essential structures of the body, until he came to the look of his black-and-white anatomical work. In 2004, his piece for Marie Claire on breast cancer won an SPD award; that piece was the DNA for his first body of work, "Flesh and Blood."

All of Mr. Christie’s graphic work, a body of work that spans 14 years, was like a long apprenticeship for his 3-D fine art. He spent years perfecting bodies, understanding light as an emotional tool, experimenting with camera angle and perspective. An early formative experience came with his viewing of an exhibition of Mark Rothko's art at the Whitney museum 15 years ago, where he "felt like aliens had come from outer space to put art on the walls." Rothko's ability to infuse his fields of color with such emotional force has had a deep influence in Bryan's emerging fine art work. Recently he had an intensely spiritual experience when he saw Michelangelo's first Pieta for the first time, solidifying his belief that the body can be used to express spiritual truths and propelling him forward into his own art and the search for the visceral experience of the truth and beauty of the world.

bcb

Friday, April 29, 2011

Open studio starts today, 4/29/11

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