The Lurkers Painting

The unmistakeable style of Brady Willmott transcends categorization. He manages to couple the atmospheric perspective and quality of work associated to the Renaissance with a surreal twist that doesn’t feel forced. At first glance, the works appear fun and whimsical, but the viewer is quickly drawn in with a sense of deeper emotion. Born to a creative family of musicians and artists and raised deep in the woods of Vermont. Willmott started on the path to becoming an artist from a very early age. Often drawing upside down or with both hands, it was clear that he had a unique perspective. During his high school years, his commitment to art led him to take vocational art classes, night art classes at a local community college and a summer program at Parsons School of Design in NYC. In 1998, he earned a BFA from the School of the Museum of Fine Arts, Boston with a focus on oil painting. While in college his love for lowbrow influences of skateboard graphics, hotrod style art and graffiti fused with newer interests in surrealism and old masters work. He was developing a distinctive style by graduation, but that would have to wait. Snowboarding and traveling the country had taken priority. Inconsistent living conditions weren’t conducive to having space or opportunity to paint and he turned his focus to tattooing. Tattooing brought Willmott to settle down in San Diego, CA in 2003. The “new skool” style of tattooing of the ’00s was his first niche but it wasn’t long before traditional Japanese influences started to creep in. For several years he occasionally painted in acrylics but soon picked up oils again and his love for painting was rekindled. Within a few years Willmott was showing his work in galleries across the U.S. and appeared in several publications worldwide. By 2017, he was participating in more than 30 group shows a year. It was becoming clear that there would be no better time to commit full time. The tattoo machines were hung up for good. A unique life has led to unique art that has been shown at multiple museums in the U.S. and Greece, has been a draw at large festivals and has been shown at more than 35 galleries on three continents.