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= Bryan Ida = Bryan Ida is an American artist living and working in Los Angeles, California. He has worked with multiple forms of artistic expression, but considers himself a painter. With his paintings he tries to find deeper meaing in the interaction of color and form. He is known for exploring themes of institutional discrimination as well as environment injustices, and endangered species. His work has been displayed throughout the United States but also internationally in Europe and Asia. His work has been showcased at Japanese American Museum of San Jose, Lancaster Museum of Art and History (MOAH), Torrance Art Museum, Riverside Art Museum, Oceanside Museum of Art, Triton Museum of Art, MOCA, Los Angeles, and Long Beach Museum of Art.

Website & Contact
website: https://bryanida.com social media: @bryanida

Early Life
Bryan Ida was born in 1963 in Santa Clara County, California and raised in Palo Alto, California. He began his artistic expression through music, as a child he played the french horn. He perfromed in both the El Camino Youth Symphony (now known as the Golden State Youth Orchestra) and his schools orchestras. His interest in music followed him throughout highschool, where he took an intrest in elextronic music. Bryan Ida went on to study electronic music composition at San Jose State University and Sonoma State University.

Education

 * Sonoma State University, Electronic Music composition attended from 1984-86
 * San Jose State University, Electronic Music Composition attended from 1986-89

Early Career Pivot
In 1988 Bryan began working for the well known abstract expressionist painter Sam Francis as his studio assistant in Palo Alto. Bryan became influenced through their close friendship and led him to pivot his mode of expression from music to painting. Same Francis moved Bryan down to Los Angeles where he was essnetially handed free access to paint, paper and canvas. At this point in Bryan's life he began painting much more and writing less music. The immediacy of the process, the physicality of the medium; he felt that paint gave him a greater ability to create something uniquely his own.

Painting Career
Bryan Ida turned to painting full-time over 20 years ago. He started off painting with acrylic paints, dyes and water but later in his career he began to explore painting with oil paints in thin layers using a technique called glazing. He later began expirimenting with many layers of glaze layered between epoxy, completely seperating the layers from one another. This technique gives his pieces a lot of depth. Bryan Ida's career as a painter has lead him to explore multiple themes such as insitutional discrimination, like in his portrait series titled "con-Text" and envormental struggles like in his "Environment Series" Ida prefers to work solo, a common characteristic of many well-established artists. For him, though, the preference doesn’t stem from a desire to be alone.

"con-Text" portrait series
"cont-Text" is a series of 16 life size portraits created from small ink strokes. The portraits examine a broad range of subjects including racism, civil rights, human rights, and man’s inhumanity toward man. The series is meant to portray the individuals as "embodiment of strength and pride standing in the face of oppression by a power against them." -Bryan Ida. Bryan used reference texts from government documents and used the words to make the marks in each portrait. He uses these words not to label or define the subject, but using the words blended together to imply a broader meaning of beauty. “The idea behind this portrait is to express the spirit of the times in a visual language that is not obvious and has some nuance,” Bryan wrote in his public statement to accompany the piece. The portrait is designed to embody the emotional and cultural impact these tweets have on the daily lives of many. As Ida recalls in his statement, “a simple act of freedom made more difficult by the words and actions of our government.” Part of what makes this series so special is that Bryan actually creates a special connection with the person in the portrait. A virtual exhibition was held in 2021 by the Ronald H. Silverman Fine Arts Gallery at California State University Los Angeles.


 * "Gregory" 60×37 ink on panel

Gregory’s great, great, great, grandmother “Frankie” was sold into slavery at the Manchester Slave Docks in what is now Ancarrow’s Landing on the James River in Virginia in the 1840’s.

Slavery was first brought to America in 1619 in the colony of Virginia and grew into the 1700’s to become the dominant labor system on plantations.

During the 1660s Virginia adopted laws specifically designed to denigrate blacks. These laws banned interracial marriages and sexual relations and deprived blacks of property. The text is from four of those Laws from Virginia State Law “Gregory.”


 * "Neighbor" 60″ x 37″ ink on panel 2018

This portrait was Bryan's way to examine the history of discriminatory Immigration policy in the U.S.. Highlighting the recent Muslim Ban of 2017.


 * "Grandfather" 60″ x 37″ ink on panel 2018

This piece is a portrait of Bryan Ida's grandfather, based off a photograph taken by Dorothea Lange when she was commissioned to photograph Japanese Americans being interned during the start of the US entry into World War II.

Environment Series
In this collection of work, Bryan Ida explores humankinds relentless "demand for energy and expansion of human advancement"-Bryan Ida. He states that "The cost of this addiction to power in animal species and environment are deep and irreversible" In these works of art, Bryan assembled and cut apart landscapes of nature and layered them on top of eachother to break their continuity. These pieces are a reflection of his beliefs that we have already passed a point of no return in that we have already created irriversibly damage and change to the planet, but is still hopeful that we can change our current course of environmentally damaging actions. ==

Creative Process
Bryan begins a painting with a design, maybe a geometric pattern suggesting some kind of man made structure; a building, a city, or floating geometries suspended in space. After layers of painting he may add hundreds of bubble-like circles, creating a mist of color. He may allow a few linear pours of paint to suggest a tree in silhouette or some other element may join the composition getting buried in the following layers of pigment. To Bryan there are no straight lines in nature, it is a human abstraction, the idea of perfection in an imperfect world where designs and structures are continually in flux; his paintings express this philosophical conundrum. Bryan works in very large scale, much from what he learned in his early years from being Sam Francis' assistant.

con.Text series:

 * 2021 February – de Saisset Museum, Santa Clara University. Activities Program Board-Solo Online
 * 2021 January – Ronald H Silverman Fine Arts Gallery, California State University, Los Angeles
 * 2020 August – Japanese American Museum San Jose
 * 2020 Feb – West Valley College, Saratoga, CA. Dept. of Student Services, Diversity, and Inclusion
 * 2021 January – Helms Building, Culver City Arts Foundation “Projecting Possibilities"


 * 2017 May – George Billis, LA “ Echo and Line”
 * 2016 Oct – Bluerider Art, Taipei, Taiwan  “City Symphony”
 * 2015 Sept – Sandra Lee Gallery, San Francisco   “Littoral”
 * 2014 Nov – George Billis, LA “Remnants”
 * 2014 June – Bluerider Art, Taipei, Taiwan “Floating California”
 * 2014 May – George Billis, New York
 * 2013 March – Blue Whale “LACA”, Los Angeles
 * 2012 Sept – George Billis, Los Angeles
 * 2007 July – Bandini Art, Los Angeles
 * 2005 Sept – Hang, San Francisco
 * 2004 Oct – Los Angeles Art Association, Bergamot Station, Santa Monica
 * 2002 April – Hang, Palo Alto
 * 2001 April – Paper Chase, Los Angeles
 * 1998 March – Theosophical University Library, Pasadena
 * 1997 Nov – The Hatch, Los Angeles
 * 1997 Jan – The Hatch, Los Angeles
 * 1996 Sept – The Hatch, Los Angeles
 * 1995 Oct – The Studio of Sam Francis

Publications

 * The Santa Clara- Review, May 2021
 * Metro San Jose- Review, February 2021
 * Psychological Perspectives the Quarterly Journal of Jungian Thought “Healing Cultural Divides: A Jungian Approach” January 2021
 * Centerpoint Now, Commemorating the 75th anniversary of the United Nations December 2020
 * Fabrik- February 2018
 * Diversions LA- Review, May 2017
 * Artscene- Cover and Review, May 2017
 * Art and Cake-Studio Visit, April 2017
 * LA Weekly December 2016
 * The Creators Project December 2016
 * Fraction Magazine.com December 2016
 * The Art Newspaper, UK December 2016
 * Art Ltd. – Review November 2015
 * Falvorpill – August 2008
 * Artwork – October 2007
 * Ions Noetic Sciences review – September 2003

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