A tool I frequently use is to reduce my palette to black and white. This allows me to further explore the properties of oil paint while only having to think about value and composition. As I paint my brushwork continues to get tighter and I begin to find my own voice with ideas pouring out of my head on a daily basis. I remember the anticipation of going into the studio to see what would happen that day.

There is something to be said for simplifying what is around you so that one can appreciate its fullness.

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

“Black and White 15” 36×60 oil on paper 1997

“Black and White 14” 36×60 oil on paper 1997

“Black and White 12” 48×48 oil on canvas 1997

“Black and White 11” 48×36 oil on canvas 1997

“Black and White 10” 48×36 oil on canvas 1997

“Black and White 13” 48×36 oil on canvas 1997

My work is always changing and has evolved radically from my earliest work to what I am
currently painting. I have always followed my intuition, but it takes a certain bravery and
belief to abandon a series that might be lucrative to chase a new idea.

Sometime in 96-97 while working in oils I reduced my palette once again to just blues. I
didn’t feel like I had the connection and ease with blue pigments that I had with red and
yellow. I remember understanding the subtleties between red and yellow pigments and
the varying shades, tones and tints of the pigments, but I didn’t feel the same with the blue
hues. I decided to limit my palette to blue. I was still derivative of Sam’s free, broad stroke
style, but I was working to try and get more intent with the brush while turning a weakness
into a strength.

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

“Blue 05” 19×19 oil on paper 1996

“Blue 09” 12×15 oil on paper 1996

“Blue 22” 26×37 oil on paper 1996

“Blue 23” 26×38 oil on paper 1996

“Blue 31” 48×32 oil on paper 1996

“Blue 32” 48×32 oil on paper 1996

After exploring acrylic paint for a few years and learning something of how it works I was intrigued by oil paint with its different nuance and properties. I completely abandoned acrylic for oil looking to learn some of its secrets. The movement and its reactions were completely different from acrylic, not in a bad way just different. I explored familiar imagery, but the pigments reacted completely different in thinner and air and I knew I would explore this medium much more in depth.

With these early oils I was still working on paper trying to complete a painting a day as I continued my exploration into color, form, and emotion using this new medium. My painting journey has taken me through many mediums and techniques with one constant, I visualize something and try to figure out how to do it in my own way as I attempt to connect with viewers and evoke an emotional response. I always learn with deeper conviction when I figure it out rather than being told what to do.

Change is life, Life is change.

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

Untitled 32×48 oil on paper 1997

Untitled 32×48 oil on paper 1997

Untitled 32×48 oil on paper 1997

Untitled 32×48 oil on paper 1997

Untitled 32×48 oil on paper 1997

Untitled 32×48 oil on paper 1997

Black and White Studies 1996

From my beginning in acrylic paint I have always looked to innovate, move forward and push the boundaries of my skill. Rather than live a life of artistic stasis and repetition I chose to embrace change. I change my work every 4-5 years sometimes sooner as I like to experiment, learn and allow the work to evolve while these trials take me in different directions.

As I go through my archive and travel through time to these past series I remember some of my thoughts that went into the work. I did a lot of work on paper early and just threw them in drawers and packets where they sat for 25 years.

At times in an effort to push myself and learn I will reduce my palette to just black and white or a single color. In this early period I began utilizing charcoal and acrylic to study value and gesture as I continued to use the expressive, large-movement language of abstraction that I started with. I was looking to distill movement and create a context as well as find something cohesive, complete and powerful as the focus of my brush narrowed.

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

Untitled 40×25 charcoal on paper 1995

Untitled 25×40 charcoal on paper 1995

Untitled 25×40 charcoal on paper 1995

Untitled 25×40 charcoal on paper 1995

Untitled 48×36 acrylic on canvas 1995

Untitled 48×36 acrylic on canvas 1995

Im going through my archive establishing a timeline of my work in preparation for my retrospective at the Bakersfield Museum of Art.

“Bryan Ida : A Life of Change”

September 28th, 2023 – January 6th, 2024

I will post this timeline as I write it in a series of posts.

Coming from a musical background where one learns by intense practice, repetition and gathered knowledge I applied this method of learning to my new medium. With no formal training and an intense desire to learn I painted something new every day. I would examine what I did the prior day, contemplate the lesson and finish something for the new day. I felt comfortable with the creativity, but the challenge was to figure out how to express that creativity into something deeper using the eyes instead of the ears. 

I continued working in acrylic figuring out flow, bleed and viscosity. I used visual elements and gestures from movements of the past to feel with my own hands how gestures are laid down in paint. 

Untitled 84 x 54 acrylic on canvas 1993

“Nature Balanced with Spirit” 38 x 58 acrylic on canvas 1994

“Between Fear and Desire” 24 x 36 acrylic on canvas 1994

“The Storm Outside” 36 x 48 acrylic on canvas 1995

Untitled 60 x 48 acrylic on canvas 1995

Untitled 36 x 48 acrylic on canvas 1995

“Fire on Blue” 36 x 48 acrylic on canvas 1995

Untitled 48 x 36 acrylic on canvas 1995

Thank you David Rubin for the wonderful insightful words in the review of my show “Deep” at Billis Williams Gallery.

Review

The show is down but you can see the work here:

Billis Williams Gallery

I am honored and thrilled to announce that I will be having my first career retrospective at the Bakersfield Museum of Art opening September 2023. Titled “Bryan Ida: A life of Change” the show will cover my beginning into painting as I transitioned from music 32 years ago and continue on following my evolution as I worked through series after series in a constant quest for knowledge and the ability to communicate. 

Early on I had dedicated my life to music but my life changed when I went to work for Sam Francis as his studio assistant in the 80’s. As I worked for him he helped me realize that the artistic language that was most natural for me was visual and I had the ability put together visual thoughts and phrases much easier than with music. Through his generosity he allowed me to paint in one of his studios that he no longer used and I started my life long journey into painting. 

I started painting initially in Sam’s style but always wanted to move away from his identifiable technique. The first 5 years of my painting career is very derivative, but you can see me push away from the expected.

These are the first three paintings i did as a painter. I distinctly remember exploring how certain acrylic pigments moved into water while others retained their form.

12×14

15×22

13×16

Honored to be a part of this show

“The Circle of Sam Francis: Experimenting in California” 

Opening May 25th, 7-9pm

Bakersfield Museum of Art

“Sam Francis kept several studios and homes through the West Coast of California. In these studios Sam often surrounded himself with many young and emerging artists who provided him with help, care, and endless inspiration. Exploring the creative process was his driving force. In doing so, Francis created an atmosphere of experimentation that allowed his assistants to expand their artistic education and nurture their own creativity. The Circle of Sam Francis: Experimenting in California will highlight work made by Francis during this exciting era of artistic exploration and survey the artists who worked alongside the master.”

In the late 80’s I worked for Sam Francis as a studio assistant in his Bay Area studios. Eventually as his health declined he moved to LA for treatment and he moved me down to help out. I was living in his 20,000sf studio in Venice with my main focus prior to the move being music.  As I discovered more about myself and with exposure to Sam I realized my abilities to express myself was more inherent in visual arts as opposed to aural so I turned to painting as my from of expression. I was given full access to the studio as he didn’t use it any more and I started my career as a painter. 

These three works are very early in my journey. the small red piece is the second painting I did as a painter in the studio. The framed figure is from a model my friends and I would bring in once a week and the third painting is when I was learning by painting in Sam’s style of pouring and flow.

Thank you to Genie David and Joseph A. Hazani for these insightful reviews of my show “Deep” at Billis Williams Gallery in Culver City.

Genie wrote for DiversionsLA

Joseph wrote for adilettante

Works from the show available

I am very happy with the show. Tressa and Jeramie did a standout job of placing the work in space. I especially like the grouping of six in the corner next to my favorite piece “Orangutan”.

This link has Available work through the gallery with sizes and more specifics.

Artist statement for ” Deep”