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This was the first work that I consciously distressed in order to give the appearance of passing time and past trauma. I recall setting the white freezer door on fire in my driveway to remove the paint. These were lean days, before I could afford a sandblaster. Artist Benito Huerta was my neighbor at the time. He and ceramicist Lebeth Lammers created the plaster negative of my face, which was then immersed in antifreeze. The chamber is a metaphor for enduring the physicalities of existence. A laser light, distributed throughout the piece emanates from the eye of the demon and projects via a mirror into my ceramic eye. This light carries with it the idea of total experience as a preparer and teacher. The laser was reclaimed from a scrapped grocery store scanner. BRUDNIAK Steve Brudniak’s Self Portrait of the Artist in Perpetual Maintenance shows the artists face gleaming behind a porthole inset within a heavy metal door, which is illuminated by a mirror laser reflection triggered by some electrical apparatus beyond my comprehension. Brudniak’s bolted, riveted, cable connected sculpture looks somewhat antique, as though the parts came from some turn-of-the-century planetarium or the boiler room at Los Alamos. It also looks serious and reminds me of a quote by Joseph Beuys, “I am a transmitter, I radiate out.” JIM EDWARDS – Rules and Speculations, catalog His rust (he is a master of rust) and heavy hinges, monstrously insulated feeder cables, that wonderful thin cherry-jello laser in "Self Portrait," bouncing from mirror to mirror to gold face, turning it to Edwardian clubroom anecdote, the Idol's Eye, is the oddest orientalization of a metaphor that began as cryogenic. The parts function like actors, let's put on a show, and the viewer who is me knows and doesn't care that for Brudniak this piece is its undertext. We're perfectly happy to be different from the maker, envy-free. GERALD BURNS – Rules and Speculations, catalog
Original Created:1988
Subjects:Mortality
Print:Giclee on Canvas
Size:16 W x 20 H x 1.25 D in
Size with Frame:17.75 W x 21.75 H x 1.25 D in
Frame:White
Canvas Wrap:Black Canvas
Ready to Hang:Yes
Packaging:Ships in a Box
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a box. Art prints are packaged and shipped by our printing partner.
Ships From:Printing facility in California.
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Steve Brudniak (Born April 9, 1961, Topeka, Kansas) is an American artist known for highly crafted and unusual assemblage sculpture. His art incorporates, often pioneering, unconventional media and scientific elements such as high voltage electricity, Tesla coil technology, magnetic ferrofluid, gyro mechanics, biological preservations, fiber optics, and lasers. Brudniak incorporates disparate found objects in the construction of his art, however the finished pieces do not resemble collage. His assemblages generally give the appearance of being functional machines or ritualistic objects that are indivisibly "of a piece," albeit of indiscernible origin and purpose. Spirituality, psychology, and biology are common themes in his work. In 2008 his Astrogeneris Mementos became the first assemblage sculptures in outer space, taken aboard the International Space Station by entrepreneur and astronaut Richard Garriott. Brudniak spent his elementary and high school years in Houston, Texas. His earliest outlets for artistic expression included writing, acting, music and film projects. In 1981 he opened the Victorian Recording Studio in Houston, recorded and performed in bands, and simultaneously began building his first assemblages. During the 1980s Brudniak was an active member of the Houston Alternative Art scene. In 1988 Brudniak moved to Austin, Texas where he remains committed to his art. He has worked from his Bouldin Creek, Austin, Texas studio for over two decades, producing art that has been exhibited in over 100 gallery and museum exhibitions. Brudniak's work is included in the collections of the San Antonio Museum of Art, the El Paso Museum of Art, The Art Museum of South Texas at Corpus Christi, and The Museum of Fine Arts, Houston. The monograph, The Science of Surrealism - Assemblage Sculpture of Steve Brudniak, was published in 2013 documenting thirty years of the artists career in photos, essays and commentary, edited by Anjali Gupta with a foreword by Guillermo Del Toro. Brudniak remains active in a variety of art mediums including performance, music and filmmaking. He has appeared in documentary productions as well as feature films, most notably Richard Linklater's Waking Life. His latest film project, is Eric Frodsham's More Moments The Go. Shot in Austin, Texas in 2009, Brudniak is co-director and co-producer of the film.
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