Photography, 1996, 35 x 55
My background as a lighting designer and theater director is at the root of many of my photographic ventures. With traditional photographic techniques and everyday subjects, I invite viewers to an other-worldly place. I am fascinated by the way visual perception provokes a conversation between eye and brain.
I create mixed scale scenarios, using the disorientation that results from these surreal scenes to draw attention to the beauty and power of everyday objects and daily interactions. I encourage people to see things that they might otherwise overlook.
The fantasy of being tiny in a giant environment is universally compelling. Whether it is interpreted playfully, politically or spiritually, we have all had some experience of feeling minuscule compared to our surroundings or our challenges.
What You Sow is one of the original images of this series, and has been a perennial favorite. This particular print is a one of a kind, large c-print with a lexan laminate and float frame. The scale is compelling.
Photography, metallic paper mounted on acrylic, 2015, 16 x 24
I love getting intimate details of nature. As if they give you a secret that they never shared with anyone before. And then I am there to bring out its beauty to the world. The flower calls me to take its photo while it is waiting for its secret lover to arrive hence I called it Waiting.
Printing this image on metallic paper and then mounting it on 1/4 inch polished edge acrylic shows off its beauty just perfectly.
Acrylic on canvas, 2015, 12 x 12
Sightlines is a series of painted colorscapes reminiscent of the Wisconsin countryside of my childhood. Blended colors and blurred horizon lines are my interpretation of the passing of time but also a sense of standing still.
I use painting knives to apply and manipulate the paint directly on the canvas. I like working with painting knives because of the variety of surfaces that can be achieved and how I can build up a minimalist composition. Most of my paintings have between five to ten thick layers of paint that I use to create texture, depth and a bit of history and mystery to the work.
Includes 4 bottles of wine (on display)
Assemblage, 2015, 9 x 5
Beka Brayer has always admired the beauty found in the natural aging process of abandoned and discarded objects. Imperfection has always intrigued her artistic sensibilities. She approaches each piece of art as any sculptor would, knowing that just below the surface, the image of her artistic narrative waits to be seen. Every piece embodies a specific destination and with that comes a representation that captures a significant moment in time.
Digital pigment print, 2015, 13 x 19
This project concentrates on the windows of San Francisco and how the urban environment accentuates our relationship with such a barrier. People project themselves depending on their personal space; such projections can be viewed externally through the arrangement of objects they curate throughout their window.
Oil on canvas, 2015, 25 x 21
As humans develop more and more of the Earth, as wilderness is paved over with sidewalks, parking lots, structures and complexes, much is made of the destruction of nature by human kind. This series, From Gray depicts a post human, post apocalyptic world in which every bit of nature has been paved over, and yet, life sprouts anew. This series is about the resilience of nature and its ability to overcome no matter the apparent devastation. We may destroy the Earth as we know it, we may make this planet uninhabitable for human kind, but nature, nature will overcome. From gray; blue.
Acrylic & ink jet pigment on canvas, 2015, 20 x 20
My art considers site, community, material & experience using architectural language and materials. My current work consists of reconstructed urban landscapes inspired predominantly by my international travels. Like so many memories of place, my paintings are constructed from a montage of imagery. The fractured quality of the work, resulting from digitally deconstructed photographs, creates an interlude between images, color fields & negative space to speak to the way we experience & register life. My artwork uses multiple perspectives to tell the story of a place compound time embracing photography and texture. Large abstract textured planes are juxtaposed with layers of realism. Navigating the social and political landscapes primary through the architecture of these international sites inspires me to investigate these sites and instigate questions about the fragility and potential of their contemporary existence.
Digital photograph on aluminum, 2016, 24 x 36
This photographic series, Japan Underwater is an interpretation of the work of Leandro Ehrlich whose sculpture is on view at the 21st Century Museum in Kanazawa Japan. As a photographer and painter, I was attracted to the strong painterly quality, the beauty and disorientation caused by seeing the world through water. I am not as it would appear at first glance actually underwater. The point of view plays with our perception of reality.
The tragedy of the Tsunami in Japan affected me deeply. This series is dedicated to the strength and dignity of the Japanese people.
Achival Pigment Print, 2015, 39 x 32
Whereas I am always engaged with more complex bodies of work that often take months, if not years, to come to formal fruition, these pictures, these squares, they are always constant, and they are right here and right now.
The origin of this group of pictures can be traced back a number of years ago to an image I made of myself in my underwear with a large coffee filter on my head, holes cut out for eyes. This image was the start of many playful performative portrait sessions for me. Over time, what was once a practice of using exclusively my image in these pictures has now expanded in scope to include various friends and people I meet in the course of my journeys.
This work has become a collaborative practice of “making” pictures with others, versus the less collaborative “taking” pictures of others. I think of the pictures as part of a collection that I can always add pieces to, and get excited in the moment when I’m working on a completely different and unrelated project and I realize I’ve made one of these squares, something to add to the constantly evolving collection of performative portraits.
The portraits themselves happen quickly, and are often unrehearsed, a result of inviting friends over for breakfast or dinner, or from meeting someone who seems to be equally interested in my beard as they are my unusual camera and photographic techniques. An explanation of my practice usually includes me asking, “Will you make a picture with me?” Most people usually agree.
Although possibly lacking a period at the end of the sentence they create, these images should be viewed as no less intentional than anything else I create. They are quite possibly more intentional and hold more promise because they don’t have a permanent home in a more formal body of work. They are nomadic and wandering, but always contain the same motivations and goals.
Oil on canvas, 2014, 9 x 12
This painting was done in plein air in Surprise Valley, California. It is a beautiful area on the North East edge of California near the border with Nevada. The whole area is vast stretches of ranch lands and near desert. This mailbox was sitting next to small deserted home and suggested another lifetime with the road leading off into the distance, perhaps suggesting where those lives had gone.
Oil on canvas, 2015, 40 x 30
I start a fresh canvas with bowls of leftover paint which I have mixed from ground pigments. I paint lots of energetic lines & explore where these lines might take the painting. Music, usually jazz, helps me in this search. Color fascinates me as does geometry. I love puzzles & problem solving & exploring.
This painting wanted to spin so that's the direction I chose.
3-night staycation in a luxury flat with city views and gift certificates to local businesses
Acrylic & graphite on canvas, 2016, 30 x 30
Copyright law, as it stands right now, hasn't really kept pace with what artists are doing and the protection they need. In many ways, it serves to penalize artists more than help them, especially in the case of artists whose practices appropriate or modify preexisting images, words, sounds, or other creative works.
This piece comes from a recent series of text paintings about copyright's requirements for originality. In this series, all of the text I paint comes from a landmark Supreme Court case (Feist v. Rural) discussing the level of originality required for any creative work to qualify for copyright protection. The text in this painting reads originality does not signify novelty -- in other words, if you and I both have a similar idea and then independently create something that looks the same, we both get a copyright in our respective creative works. Something need not be new to the entire world to be original.
I enjoy the aesthetics of text that has been overlapped and blurred. That aesthetic is particularly apropos for works addressing originality, given that we have loose guidelines but not concrete examples for what constitutes copyrightable work.
Oil on canvas, 2015, 16 x 20
As a relatively recent transplant to San Francisco, I am constantly struck by the beauty and complexity of the city's topography. From houses stacked for miles in an upward march to roads that snake circuitously around hills, I am fascinated by the ways urban structures must conform to the shape of the land. Conversely, I am interested in the changes that man-made structures impose upon the landscape. Flotillas of container ships invade the bay while huge transmission towers frame the horizon, only to be obliterated by amorphous fog. Within this exchange, I find not only fertile ground for painterly expression but also hope balance can somehow be achieved.
Custom dinner for 4 with wine pairings
2016, 36 x 40
Courtesy of Red Truck Gallery, www.redtruckgallery.com
Red Truck Gallery is an art gallery based in New Orleans with a focus on unique art and a welcoming atmosphere that is in warm opposition to the customary frills and stark white walls of the traditional art scene. We invite you to enter our world, sit down, relax, and let us introduce you to our family of eclectic and dedicated artists.
There's only two requirements to being one of Red Truck's artists - the first is to make beautiful, unexpected art with an emphasis on the importance of craftsmanship in creation of beauty. Our artists work in an impressive range of art styles and mediums, but all are meticulous craftsmen who relish the detail and hard work that goes into making a piece. The second requirement is to be a loved friend or family member of gallery owner Noah Antieau, who carefully curates the gallery with not only the best art he can but also the best people, because as he says- the only thing better than getting to sell art is getting to do it for the people you love.
After years of being a traveling gallery, exhibiting at shows and doing pop up curations in Miami, New York, Los Angeles, London, Paris, and seeing just about every little roadside town in America along the way, Red Truck has returned to its permanent home on Royal street in New Orleans, the only place we can imagine settling down. We'd love to have you join us.
Monotype immersion print class for 1 person
Oil on canvas, 2015, 24 x 36