BRENDAN CASS

 

Norway  2004

 

 

 

 

 

Ultrecht  2004

 

 

 

 

France

 

John LeKay: How did this body of work come about ?

Brendan Cass:  The body of work came about through an obsession of travel, in general, and also escapism. Literally and Psychologically. At the depths of my purpose though I am fascinated by the land formations and sense of terrain in Popular inspiring European locales, and also the energy and liberation that many people feel when going to these say, inspiration centers. One can feel as flat as they did back home or really resonate with the sense of departure, and other ness.

I also paint primarily euro scenes, as a kind of subliminal reminder or activator in the hopes that, American culture today can regain some of its Eruopean_ness, socially and behaviorally to be a kind of social antidote temporarily for the awkward times. Almost as if things are such a mess culturally I'm hoping a scene of Holland painted in a funny serious way, could make someone think twice about our culture, educational systems, social patterns, ways. So it's a kind of escapism back to a smoother social and political way. Away from movies that value a million cars exploding in one scene, or schools where children shoot each other year after year. To maybe cafe's, or tulip auctions in Holland or a great conversation with a traveler on a beach in some foreign destination.

I am also acutely aware this could just be a temporary escape or vacation. My formal concerns are that of blending the academic with the crude, the sophisticated with the coarse, Beauty with Ugliness. Moreover, the general formal reality of my work is an intimate conversation with the work of my peers, and adding to a comprehensive awareness of  historical artists. But I really want to create portals, of travel, Mentally, Spiritually, Physically. 

 

 

Germany

 

JL:  What I find interesting about this work is that you painted them from travel catalogues. Knowing you did this also throws a mixed emotional comical twist and another light on them and also empathizes a sense of removal, a cool analytical detachment.  They do conjure up these beautiful idealistic landscapes and thoughts of wanting to escape to another time and all those wonderful things like you said.

In this sad nuclear age of cynicism, this bomb culture and political death cults etc. etc.; do you think the the colorful blending that you do with the humorous and the serious can be perceived as being a derisive commentary on an idealistic mindset and the mainstream corporate art world?

BC:   I don't perceive my paintings as commenting on the art world at all, if anything I see them as pictorial events I sent into motion in discussion with the art that has happened already and that which is here and now and also what is to come. I am interested in Great artists, people who have a new engaging cognitive sense, and artful ways of being and seeing. The "art world" in general can be so, un- artful and clinical, I'm not interested in making art about that or focusing on it at all. An artist like Hirst seems interested in commenting on the art world; to me an artist like Kefir is truly onto  artful discovery, and substance, that's what I'm interested in. Art that engages the depths of our perception in an enduring way.

At the core of my work in its most basic impulse I am championing the organic, believing in nature and living. Clean edges and taped off lines are for people who fear death and don't believe in ghosts. This false security is temporary eventually one has to realize the ocean, or the universe is much more innately fascinating and powerful than a ruler or a space shuttle or being a billionaire, although those are cool things too, they're not as cool you know. Nature is what I'm ultimately giving people, something they already are. My work is a reminder to people, to Live.
 

Greece

 

JL:  Who are some other artists that you find inspirational, out of history or the present?  Also can you please talk a bit about your creative and painting process.  It looks like its much more than meets the eye.

BC: There are so many artists that influence my work and process, that's the way I like it, to have their work floating in my thoughts as I work.  Joseph Beuys would be the first, he is always on my mind. His work is so primitive and sophisticated, in an amazing balance. He is really interested in the root concerns of being and making. Also, his devotion to the creative power of nature is so on target. After all without nature how would there be the possibility to make anything. He knew, all muses lead to the same source. I feel the strongest affinity to his work on a personal level.

 Other artists would be Matisse, Monet, Keifer, Baechler, Basquiat, Schnabel, Ryman, Martin.  These people to me are incredible naturals at what they do. Like they were born to make incredible art and challenging artistic propositions.  Ryman's work stuns me in a way no other work has before - it is so dimensional, and seemingly overly simplistic. I remember seeing a large show of his in Bonn Germany which was like being in genius art heaven, and then there was a video of him discussing his way of painting, and I could swear I was watching a surgeon speak before surgery. He was very calm and his thoughts were so delineated and clear, I was just phased and awakened again and again.

 As I work it is incredibly important to be as analytical, as intuitive, as neat as I am sloppy, as poetic as coarse. To play the opposites against each other continually until an approach occurs.

I begin the paintings somewhat traditionally drawing with a wash free hand and then gradually they become more eventful and material oriented. I start to feel like I am working with Colored clay as opposed to paint, usually being thin or viscous. As I work I perceive the paintings as a kind of Bas relief that the images and marks are elevated in most places, I want them to be as physical as they are illusive. I want them to have a strong and light physical presence, masculine and feminine, raw and refined. Like a beautiful coral reef with outrageous colored mosses upon it. I want to be enthralled with color and form and quietly, intellectually and intuitively, sizing up what's going on the whole time.  I put paintings away for long periods of time to see them freshly again. A lot of editing happens and tons of thought and looking, to finally articulate things.

 

Holland

 

Iceland

 

Italy

Italy

 

Mountain Forrest

 

Courtesy Canada New York and Rove, UK

www.canadanewyork.com

www.rovetv.net