Brian Biedul was born in Colorado Springs in 1955 and soon thereafter moved to Europe with his family. He spent the better part of his early youth in Europe where his love of art began. While living in Paris he was enrolled in his first art class under the instruction of Siegfried Hahn. After returning to America he spent time in various cities across the United States including New York, Chicago and Los Angeles where he later settled. In 1984 he graduated with a BFA from Art Center College of Design where soon thereafter taught saturday figure drawing classes.
Biedul's artistic development can be divided into several distinct periods. In his early years he painted traditional figurative realism. Later he began creating nonobjective paintings. He followed with a transitional period of working with installations and earthworks. It was here that he began exploration into what he calls Theoretical Architecture. In 1994 he created a fictitious artist for a film entitled Lazlo: A Portrait of the Artist In White. Biedul co-created with Paul Binkley this short film that was a critical commentary on contemporary art. After the film was completed, Biedul discovered that his entire body of work including documentation had been destroyed in an accident. As a result, he took an eight year break from creating art. It was the death of a close personal friend that brought him back to his passion. "The truth about art lies in the artists' ability to see the world acutely. Drawing and painting are what keeps the artistic eye clear."
Combining his passion for form with his explorations into theoretical architecture he began work on Spaces, a series in three phases. The first phase is entitled Rectangles using the human figure to articulate the space. Brian Biedul currently resides in Santa Monica, California with his wife Dawn Rosenquist.
artist statement Over the last twenty years I have been experimenting with theoretical architecture as an art form. The content of my work, whether an installation, painting or sculpture is to define the threshold between the inside and outside of conceptually articulated space. As a sculptor of gestalt space, I have used fire, light, vegetation, water, rope, steel, vinyl and wood.
Typically working in the ephemeral media of installation and earthworks, for the “Spaces” project I have decided work in the traditional medium of painting and sculpture. For "Rectangles” and “Squares," the first two phases in the three-part series entitled “Spaces”, I am using oil on canvas as my medium. To articulate the space that I created, I chose the human form because it is universally understood with clearly recognized boundaries. In observing the art (Rectangles and Squares), it is important to understand that the art is the defined space itself. There are no lines, background, color fields or image to extend beyond the boundaries of the art. For Rectangles and Squares, the art absolutely ends at the edge of the canvas. Brian Biedul
brian biedul
ΑπάντησηΔιαγραφήBrian Biedul was born in Colorado Springs in 1955 and soon thereafter moved to Europe with his family. He spent the better part of his early youth in Europe where his love of art began. While living in Paris he was enrolled in his first art class under the instruction of Siegfried Hahn. After returning to America he spent time in various cities across the United States including New York, Chicago and Los Angeles where he later settled. In 1984 he graduated with a BFA from Art Center College of Design where soon thereafter taught saturday figure drawing classes.
Biedul's artistic development can be divided into several distinct periods. In his early years he painted traditional figurative realism. Later he began creating nonobjective paintings. He followed with a transitional period of working with installations and earthworks. It was here that he began exploration into what he calls Theoretical Architecture. In 1994 he created a fictitious artist for a film entitled Lazlo: A Portrait of the Artist In White. Biedul co-created with Paul Binkley this short film that was a critical commentary on contemporary art. After the film was completed, Biedul discovered that his entire body of work including documentation had been destroyed in an accident. As a result, he took an eight year break from creating art. It was the death of a close personal friend that brought him back to his passion. "The truth about art lies in the artists' ability to see the world acutely. Drawing and painting are what keeps the artistic eye clear."
Combining his passion for form with his explorations into theoretical architecture he began work on Spaces, a series in three phases. The first phase is entitled Rectangles using the human figure to articulate the space. Brian Biedul currently resides in Santa Monica, California with his wife Dawn Rosenquist.
artist statement
ΑπάντησηΔιαγραφήOver the last twenty years I have been experimenting with
theoretical architecture as an art form. The content of my
work, whether an installation, painting or sculpture is to
define the threshold between the inside and outside of
conceptually articulated space.
As a sculptor of gestalt space, I have used fire, light,
vegetation, water, rope, steel, vinyl and wood.
Typically working in the ephemeral media of installation
and earthworks, for the “Spaces” project I have decided work
in the traditional medium of painting and sculpture.
For "Rectangles” and “Squares," the first two phases in the
three-part series entitled “Spaces”, I am using oil on canvas
as my medium. To articulate the space that I created, I chose
the human form because it is universally understood with
clearly recognized boundaries.
In observing the art (Rectangles and Squares), it is important
to understand that the art is the defined space itself. There
are no lines, background, color fields or image to extend
beyond the boundaries of the art. For Rectangles and Squares,
the art absolutely ends at the edge of the canvas.
Brian Biedul
brian biedul 11/2005