Bakersfield Museum of Art

“Bryan Ida : Life of Change: A Retrospective”

Sept 28th, 2023 – Jan 6th, 2024

After working with thick layers of epoxy for the past few years I started using acrylic so I could do multiple layers without building too much weight and to get away from the toxicity of epoxy resin. I could do many thin layers, up to 50 layers, and build subtle darkness again like I used to with oils.

In this series I have continued my exploration of memory and it’s relationship to our feeling of place. We have strong emotional memories tied to certain locations as well as small recollections based on glimpses of areas we have passed by. Our memory is a reduction and refinement of our experience and I try to collect and assemble this assortment of thoughts and impressions and further distill them to their essence and lay down the elements in paint.

“China Basin” 48 x 39 acrylic on panel 2015

“Shelter Island” 39 x 65 acrylic on panel 2015

“Dusk in the Blink of an Eye” 48 x 41 acrylic on panel 2015

“On the Perspective of Being Wrong” 34 x 48 acrylic on panel 2016

“Fallout” 34 x 48 acrylic on panel 2016

“Lines Drawn to Yesterday” 44 x 56 acrylic on panel 2016

“Moment by Moment” 35 x 74 acrylic on panel 2017

In the last series I was doing abstract gestural paintings working with layers of epoxy trying to integrate the background, mid-ground and foreground into one cohesive statement. Out of nowhere came a hard-edged piece with an entirely different palette reminiscent of the mid century modern movement. When these moments of inspiration hit I follow them as far as I can, trying to unlock the secrets of the moment of creation. Cities 2012-2017 is that exploration.

The new series of paintings, using round and rectangular shaped panels, explore the intricacy, diversity, complexity, and beauty of the cities we live in. Cities are built in layers, and when you peel away layer by layer truths are revealed. I like the idea of layers and reveals, digging and unearthing forms.

“Genesis” 36 x 36 acrylic, epoxy on panel 2010

“Century City” 47 in diameter acrylic and epoxy on panel 2012

“Granada Hills” 38 x 48 acrylic, epoxy on panel 2010

“Santa Monica” 32 x 84 acrylic, epoxy on panel 2012

“The View” 47 x 41 acrylic, epoxy on panel 2012

Bakersfield Museum of Art
“Bryan Ida : Life of Change: A Retrospective”

Sept 28th, 2023 – Jan 6th, 2024

From the title seed comes the idea of rebirth. I wanted to start over from nothing and develop and purify new gestures and techniques as opposed to a refinement of any previous work. I felt restricted and a feeling of tightening in the series I had been working on for the prior 3 years and wanted to get back to gesture and free flowing images.

I started these paintings with a clean slate mentally and it resulted in a series that is fresh with new ideas and approaches, but remains true to my nature and sensibilities. I made a conscious return to vibrant color, with their inherent contrasts and compliments from the subdued palette of the prior series.

An ever evolving exploration into gesture and color I use air guns, airbrush, paint brush, squeegee, sandpaper, palette knife, fingers, anything I can to manipulate and push paint. I see in many paintings a subconscious revisiting of old images and forms.

I began experimenting with epoxy in multiple layers creating a physical depth that I became very interested in.

“Manganese Study” 41 x 36 oil on panel 2007

“Tranquility Spring” 41 x 36 oil on panel 2008

“Generation One” 48 x41 oil on panel 2009

“First Light” 40×40 oil, epoxy on panel 2010

“Wiseman” 32 x 30 oil epoxy on panel 2010

“Party”24 x 29 oil, epoxy on panel 2011

“Take me Home” 41 x 48 oil, epoxy on panel 2011

Bakersfield Museum of Art

“Bryan Ida : Life of Change: A Retrospective”

Sept 28th, 2023 – Jan 6th, 2024

I will be there this Saturday from 1-3 if you want to meet up

In the last cold wax series based on cities, I came up with a one off painting of rocks, inspired by river rocks that I would see while fly fishing rivers and steams. This painting inspired me to do a series, called “City and Nature, longing and Need” that would consume me for the following 3 years.

This oil paint based series contrasted man made straight lines and right angles with the natural beauty and soft curves of river rocks stacked one o top of the other. A city is a gathering place for culture and commerce filled with buildings, signs and man-made structures that block us from contact with nature creating a void that must be filled. In the rocks we can explore nature as we experience the solitude and natural beauty not associated with a city. There is a calm, a sense of time passing slowly and an ancient wildness.

“Rocks” 72 x 48 wax oil on canvas, 2004

“Fate and the Time We Have Together” 48 x 60 oil on canvas, 2004

“Balance” 66 x 48 oil on canvas 2004

“As Night Settles In” 48 x 40 oil on canvas 2005

“A Preference to be Entitled” 72 x 45 oil on canvas 2005

“Midnight” 48 x 60 oil on canvas 2006

“Looking in the Realm” 70 x 48 oil on canvas 2006

“Lost and Found” 60x 45 oil on canvas 2007

Bakersfield Museum of Art
“Bryan Ida : Life of Change: A Retrospective”

Sept 28th, 2023 – Jan 6th, 2024

I continued using cold wax medium as I began to develop a theme based on cities and their forms. I was intrigued by the everyday and the interactions of color and form that occur in the hustle and bustle of a crowded city and I explored the juxtaposition of disparate images in a single composition. I would explore the city as theme for the next decade in many various forms and techniques.

“The City” 48×48 oil, wax on canvas 2003

“Pensive Mood in the Moonlight” 40×48 oil, wax on canvas 2003

“What the Night Will Hold” 40×48 oil, wax on canvas 2003

“Center City” 40×48 oil, wax on canvas 2004

“On the Eve of My Destruction” 48×60 oil, wax on canvas

“As I Wander Do I See” 48×55 oil, wax on canvas 2004

I am thrilled to be working with the Los Angeles Lakers by participating in their “In the Paint”  organizational initiative that recognizes, supports, and uplifts artists of color in Los Angeles. In its third year, “In the Paint” strives to change the trajectory of a cohort of L.A.-based BIPOC artists’ careers through both in-kind funding and long-term programming supporting a creator economy.

The beauty of the city is the different stories that emerge from every neighborhood around this sprawling metropolis. As their home, the Lakers are honored to provide a platform to share these stories.

Thank you John Seed for including me in your book “More Disruption:Representational Art in Flux” his second book in a series of books about disrupted realism.  it’s an honor to be in the company of these great artists 

The book reveals the contemporary art phenomenon of disrupted realism through the paintings of 43 artists at its core.

Profoundly shaped by the events, forces, and overflow of today’s disjointed, social-media-heavy life, these artists’ paintings are “disrupted” stylistically, thematically, or sometimes both.

They allow us to appreciate how art relates to the “super-fast, simultaneous, almost dizzyingly paced scrolling” of our lives.

Bakersfield Museum of Art
“Bryan Ida : Life of Change: A Retrospective”

Opening Reception Sept 28th 7-9 pm

Sept 28th, 2023 – Jan 6th, 2024

Cold Wax series 2001-2003.

In 2001 I started experimenting with cold wax medium by mixing it into oil paint, allowing it to partially cure then carving into the painting.

I would then load the scars with paint and sand it back even with the surface. This would produce very fine lines with many imperfections where the surface cracked as I scratched into it.

“Test of Nine” 36×48 wax oil on canvas 2001

“Deep Under” 48×36 wax oil on canvas 2001

“Talisman II” wax oil on panel 2001

“Rocks” 72×48 wax oil on canvas 2001

“Genesis Travel” wax oil on canvas 2001

“Serenity” wax oil on canvas 2001

A short “Leaves” series followed the flower series in 2001 where I really started working with
the idea of integrating the background, mid ground and foreground. I was thinking about how I
could have separation of the planes, but integrate them and make them relate to each other.
I was hoping to have them work together and integrate on all levels.

The idea of Leaves as a theme brought me in the direction of the natural world and ecosystems
that I would revisit later in my artistic journey.

Bakersfield Museum of Art
“Bryan Ida : Life of Change: A Retrospective”
September 28th, 2023 – January 6th, 2024

“Leaves-Red Leaves” 36×32 oil on canvas 2001

“Leaves 2,3” 36×32 oil on canvas 2001

“Leaves-Blue Autumn Leaves” 36×36 oil on canvas 2001

“Leaves- Blue Leaves” 36×36 oil on canvas 2001

“Leaves -The City” 36×36 oil on canvas 2001

“Leaves-Still Life” 36×36 oil on canvas 2001

As my skill grew I began seeing figures and landscapes that needed to get onto canvas. I went with what I saw and interspersed isolated portraits, landscapes and funny animals in with the flower series I was working through.

In these one offs from this time period of 2000 to 2001 you can see a glimpse of future work.

Bakersfield Museum of Art
“Bryan Ida : Life of Change: A Retrospective”
September 28th, 2023 – January 6th, 2024

“Girl in Blue” 36×48 oil on canvas 2001

“Landscape” 36×48 oil on canvas 2001

“Figure in Blue” 36×24 oil on canvas 2001

“Figure in Red” 48×36 oil on canvas 2001

“Aye You’se” 48×30 oil on canvas 2001

“Buck Why” 48×38 oil on canvas 2001

“Toofy” 12×9 oil on canvas 2001

“Happy Guy” 12×9 oil on canvas 2001