Enamel paint and varnish on birch plywood panels.
This is painted by hand... No computers were used, just tiny brushes and a lot of time. That's sort of the point... to make images by hand that in subtle ways are more endearing than what a computer could make because of the human interaction they are flawed. There's more than a bit of irony in the fact that I'm uploading this to the internet for you to see.
The quest for "perfection" has become a cornerstone of our culture. Advertisers and marketing experts routinely use consumers' faith in the analytically reasoned truths of science and optimism generated by technological progress as tools for manipulating the secular marketplace. They play to and prey on the public's hopes, dreams, fears and insecurities. The great consumption machine provides perfect answers in the form of perfect futuristic products offered to rescue or revive our imperfect lives.
Wayne Edson Bryan's paintings challenge the fundamental premises of the consumer culture by using many of the same subliminal visual tools to embrace the antithesis of pre-packaged perfection: the defects; the accidents; the waywardness; and the imperfectability of human nature
In his newest works, Bryan employs metal-flake enamel and a pixelated, saw-toothed line to create multi-layered paintings featuring ancient Sung dynasty magic diagrams mixed with patterns and images created by or associated with computers, as well as iconography from biology, physics, mathematics, and chemistry. By rendering these normally precise, mechanically generated and reproduced images by hand, their human origin and attributes become more conspicuous and endearing.
Bryan’s new paintings explore at greater depth the visual effects created by using a power sander on many layers of variously colored paint. This technique emphasizes the element of chance and reveals hidden, raised eddies of each different color. In departure from his earlier works, which typically contained six to eight layers of more organically based patterns, Bryan has limited the pattern overlay and made it more geometric to heighten the contrasting organic qualities of the brush work and the subtle dynamics, revealed by the sander, of viscous paint covering irregular surfaces. The paintings celebrate the mysterious imperfections of existence: the incalculable, the fortuitous, the errant, the unpredictable.
9/1999 (Excerpted from: Gallery K press release “Perfect/Defect, an Exhibition by Wayne Edson Bryan”)