Littoral
A new series based on the word littoral, I am expanding the definition to a wider scope.
where the water meets the earth.
“Horeshoe Kelp” 40″ x 30″
“The 302″ 48″ x 41”
“con.Text” videos:
Videos for paintings
Recent Posts
- “Devon”
- “Orangutan”
- “Maple Fall”
- “Gregory”
- “con.Text” Write up in The Santa Clara
- “Solitude”
- “Under the Brightest Moon” with video
- Video for “Sunset and Desire”
- “Dad”
- “Bee’s” 24×72
- Feature in Metro Magazine
- Artist talk at the Japanese American Museum San Jose
- “Lisa”
- Psychological Perspectives
- Centerpoint Now
- “Tiffany” video
- “Elon” video
- “con.Text” videos
- “Father”
- “Tiffany”
Bryan Ida
It is my pleasure to announce that I will have 8 portraits from my "con.Text" series in this group show at the Kellogg University Art Gallery on the campus of Cal Poly Pomona.
This is a portrait of Devon. Devon’s grandparents bought a home in the Crenshaw District in 1950, a few years after their illegal imprisonment in the Rowher, Arkansas concentration camp during World War Two. Two years earlier, a portion of the 1913 Alien Land Law was overturned, which enabled Devon’s grandparents the right to buy their 11th Avenue house. Prior to 1948, their right to buy and own a home would have been compromised by the 1913 Alien Land law which disallowed anyone “ineligible to citizenship” from owning or leasing land in California. The Alien Land Laws were specifically tailored to restrict property rights for all Japanese living in California.
Ive been having troubles with my right hand from overwork/overuse. So this is a left handed painting continuing my environment series “Palm” 48x24
Thinking about ideas to bring color into the "con.Text" series using monotypes
Another step in extracting emotional content from an existing idea. Zooming in on “Marcus” and changing value to color #sketch #ideas #color
I am exploring deeper into the visual language that is created when using word upon word as the mark by zooming into the portrait and examining in detail the resulting abstract forms. I separate the forms by value and assign each value a color. This interplay creates another unique, emotion filled language tied to the reaction to the original document that uses at its core a gesture I had already created. It is a derivative away from its original form that is another derivative away from its original meaning. I am working through ideas for a monotype series. Zoom in “Grandfather”#wip #portraitderivative #trial anderror #colorisemotion
Whitney Rosenson from Art Dimensions and I talked about my history and process in her ongoing conversations titled Beyond the Palette. Link in bio
“Whale” brand new piece from my fading light series #whale #whales #fadinglight #acrylicpainting
Last day tomorrow to see “con.Text” at the Japanese American Museum San Jose. 12-4 pm . I will be there hanging out
Lorraine’s great grandfather first came to the United States in the 1850’s on a 30ft Sampan, a Chinese fishing vessel not designed to cross an ocean. He landed in Mendocino County and immediately began work in the lumber camps as a cook. After going to China in the late 1880’s he tried to return to his family in California, but due to the Chinese Exclusion Act of 1882 he had to pay to take the name of a citizen to be allowed back to his family in California.
Pages
- Links
- “Angelin”
- “Ash”
- “Blaine”
- “con.Text” details
- “con.Text” ink portraits
- “Ella” 40×36
- “Elon”
- “Father”
- “Grandfather”
- “Heather”
- “Justine”
- “Manzanar”
- “Marcus”
- “Mary Jo”
- “Mike”
- “Neighbor”
- “Paul”
- “Protester”
- “Tiffany”
- 2004: City or Nature; Longing and Need
- 2007 to 2011: Seed
- 2011
- 2011 to 2013: Cities
- 2012
- 2013
- 2014
- 2014 to 2017: Cityscapes
- 2015
- 2016
- Artist Statement
- Artwork
- Biography
- Contact
- Earlier Series
- Environment Series
- Exhibitions
- Paintings 2017
- Portraits 2018
- Water Series
-
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Bryan Ida
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