Bryan was drawn to music at an early age. Being musically inclined, he began playing French Horn as a child. He played in both the El Camino youth symphony and school orchestra.
Bryan, focused upon his musical expression, was continually seeking progressive techniques which lead to his interest in electronic music while in high school.
In his university studies at San Jose State and Sonoma State University, Bryan went on to study electronic music composition.
In 1988 Bryan then went to work for Sam Francis, the noted abstract expressionist painter.
A long standing and close friendship between Bryan and Sam's children had been established early on in childhood. This trusted relationship with Sam's family and close circle of friends would prove to be instrumental in the pivotal change of direction in Bryan's future.
Sam Francis invited Bryan to work as his studio assistant in Palo Alto where
Bryan would have the honor and unique experience of working side by side with this extraordinary artist. Sam would prove to be an important influence in Bryan's segue into painting, an incomparable mentor and a cherished friend to Bryan over the years to come.
In the late eighties I started working for him as his studio assistant in Palo Alto where he was painting a large commission for the new United Government building in Bonn, Germany. The painting was approximately 20 ft x 40 ft., a large mural.
I felt priviledged to be in the studio while Sam worked. I vividly recall helping him with buckets of paint and painting tools, taking photographs and archiving this period in time. It was truly an expansive experience working for Sam.
Sam moved me down to Los Angeles into his big studio in Venice where I had free access to paint, paper and canvas. I started painting. I picked up technical aspects of painting, and Sam's sense of freedom and release while he painted. I was captivated by his love of pure pigment and his vibrant palette.
Working side by side with Sam, I had the opportunity to absorb his knowledge and to instinctively understand his perspective. These are my roots which continue to flower and grow. I then interpret this in a unique way and build upon this foundation to create my own expression.
In my latest series I wanted to capture the feelings of location and identity with an emphasis on the unique architectural history of California. I reflect the relationships formed within the region between all its divergent cities and communities. I wanted to somehow express the complexity, diversity, and beauty of the region we live in as well as the sense of time that is felt as the city experiences its decay.
This new series of paintings uses round and rectangular shaped panels to explore, interpret and express the energy and flow of this thought process. The round panels are mandalas. These come from the perspective of looking straight up from a city street and seeing the tall buildings converge on a central point. The focal point is the center of the mandala. This viewpoint leads into abstraction as one loses their point of reference, everything turns on itself and the beginning becomes the end
The rectangles are more traditional landscapes with a view from the horizontal perspective where one can see a horizon line and the outlines and forms of buildings that identify a city. The foreground composition consists of colors and forms inspired by short glances, impressions, and photographs of architecture in the Southern California area. I try to contrast the idea of a fleeting unbalanced glance with the balance achieved in stasis.
I use negative space behind the forms to tell as much of the story as possible. The use of negative space for me is about finding a place to fit in; the relationship between what is there and what is not. It speaks of location. The composition is a balance between the negative space in the back and the forms and outlines in the foreground.
To complement these compositions, I've developed a technique that layers paint inside thick layers of epoxy, essentially isolating each layer from one another. This physical separation gives a sense of depth, volume and detachment again echoing the city theme.
SOLO , 2 PERSON
Bluerider Art, Taipei Taiwan Solo Show "City Symphony" Oct 2016
Sandra Lee Gallery, San Francisco Solo Show "Littoral Sept 2015
George Billis LA, Culver City, solo show Nov 2014
Bluerider Art, Taipei City , Taiwan Solo Show June 2014
George Billis, New York, NY Solo show April 2014
Smith Andersen North, San Anselmo, CA 2 Person Show March 2014
Stanford Art Spaces, Stanford, CA 3 Person Show May 2013
Blue Whale, Los Angeles, CA Solo Show March 2013
George Billis LA, Culver City, CA Solo Show September 2012
Hang, San Francisco, CA Solo Show October 2009
Bandini Art, Culver City, CA Solo Show July 2007
Hang, San Francisco, CA Solo Show September 2005
Los Angeles Art Association, Bergamot Station, Santa Monica, CA Solo Show October 2004
Hang, Palo Alto, CA Solo Show nApril 2002
Paper Chase, Los Angeles, CA Solo Show April 2001
Smith Andersen Editions , Palo Alto, CA 3 person Show March 1998
Theosophical University Library , Pasadena, CA Solo Show March 1998
The Hatch, Los Angeles, CA Solo Show November 1997
Gallery OBOY, San Francisco, CA 2 person Show July 1997
The Hatch, Los Angeles, CA Solo Show January 1997
The Hatch, Los Angeles, CA Solo Show September 1996
The Studio of Sam Francis, Venice, CA 2 person Show October 1995
BLAM, Los Angeles f.u.topiia Feburary 2017
The Billboard Creative, Los Angeles Billboard Show December 2016
Torrance Art Museum MAS Attack 13 November 2016
Carlos Blanco Studio LaBo Por Venezuela October 2016
Bogota De Colombia
La Estacion Arte Contemporaneo, Group Show August 2016
Lancaster Museum of Art and History: Cedar Cedarfest June 2016
Forum Kortteli,Turku & Naantali Spa Gallery Homing Pigeon May 2016
Outpost Projects, Joshua Tree, CA UFOlogy March 2016
Palm Springs Fine Art Fair Group Show Feburary 2016
Fabrik MAS Attack 11 January 2016
George Billis, LA The Landscape Show V July 2015
George Billis, New York Grooup Show July 2015
Arena 1 Gallery, Santa Monica Kachofugetsu:: Flowerbirdwindmoon June 2015
Riverside Art Museum “California Dreraming: An International May 2015
Portrait of Southern California”
Gallery Antenna, Kyoto “Homing Pigeon Edition IV:Kyoto” April 2015
Santa Monica Studios MAS Attck VII December 2014
Red Dot Art Fair, Miami Group Show December 2014
Oceanside Museum of Art California Dreaming: An International December 2014
Portrait of Southern California”
Ichibeicho Gallery, Tokyo i23, “From the Dust Returns” October 2014
Sandra Lee Gallery, San Francisco “Real Surreal” October 2014
Salon d’ingresso of Palozzo della California Dreaming: An International October 2014
Provincia da Frisone, Italy Portrait of Southern California”
Torrance Art Museum MAS Attack VI August 2014
Asia Hotel Art Fair, Seoul Korea Group Show August 2014
Art Taichung, Taipei Taiwan Group Show July 2014
George Billis LA, Culver City “Cityscape Show IV” July 2014
Art Tainan, Taipei Taiwan Group Show March 2014
Palm Springs Art Fsair Group Show February 2014
Red Dot Art Fair , Miami Group Show December 2013
MAS Attack 2, Torrance Art Museum Group Show October 2013
Homing Pigeon: Edition 2: Tokyo, Gallery Lara Tokyo Group Photography Show October 2013
JAUS, Santa Monica “Black and Blue Show” August 2013
George Billis LA, Culver City “Landscape Show III July 2013
Gallery 85, San Jose “Huddle Up” June 2013
Palm Springs Art Fsair Group Show February 2013
Red Dot Art Fair , Miami Group Show December 2012
George Billis LA, Culver City Group Show July 2012
LA Art Show Group Show January 2012
LACMA, Sales and Rental Gallery Group Show March 2009
Triton Museum, Santa Clara “Statewide Painting Competition and Exhibition” January 2008
Los Angeles Art Association Gallery 825, Los Angeles "Field and Form" September 2006