Oscillator

61 cm x 61 cm
24" x 24"
2016 - 2020

Sea Monkey is painted on a 1 1/2" hollow core panel panel . The paint layer is 1/8 " thick.

"My Sea Monkey went to the river and now we are friends."

Sea Monkey was originally a commission from a car company to make several films of my paint spreading on two foot panels. The films were to be used as source material for touch screens in driverless cars. They wanted the human touch. I suggested setting me up with a studio in Paris for a year would yield some good source material. I've not heard back. The films can be seen on my website.

I got to keep all but one of the paintings per contract. This painting sat around for several years until 2019 when I started reworking it.

Sea Monkey

61 cm x 61 cm
24" x 24"
2016 - 2020

Life on Venus (Phosphine) is painted on a 1" thick hollow core panel. The panel's  corners are rounded.  The painting is ready to hang when it leaves the studio.

They have detected phosphine in the Venetian atmosphere. An indication of life. We are in a pandemic on earth.

Life on Venus

2017 - 2019
121.29 cm x 182.25 cm
47.75" x 71.75"
paint on panel

Feeder

119 cm x 152 cm
47" x 60"
paint on panel
2018

Wynwood  is painted on a 1 1/2" hollow core panel . I work flat using self leveling media. This painting is built up with alternating layers of paint and clear resin.

My paintings are usually named after they are done. Wynwood is a reference to the murals in the Wynwood neighborhood of Miami Florida where I stayed for a three week residency. I was as excited about the murals in Wynwood as I was by the art in the museums.

Wynwood

91 cm x 81 cm
36" x 32"
paint on panel
2018

As a child I was fascinated with the cross eyed planaria.

Flatworm

2018
183 cm x 121 cm
72" x 48"
paint on panel

Temptation of Saint Anthony

152 cm x 121 cm

60" x 48"

paint on panel

2018

Lonely Brain

61 cm x 61 cm
24" x 24"
2016 - 2019 

Overbite is painted on a 1 1/2" hollow core panel panel . The paint layer is 1/8 " thick. 

Overbite was originally a commission from a car company to make several films of my paint spreading on two foot panels. The films were to be used as source material for touch screens in driverless cars. They wanted the human touch. I suggested setting me up with a studio in Paris for a year would yield some good source material. I've not heard back, The films can be seen on my website. www.bruce-riley 

I got to keep all but one of the paintings per contract. This painting sat around for several years until 2019 when I reworked it. The paint layer is built up from the original commission with a loose, accidental hand. On top of the dried paint I applied a thin coat of resin with the intention of starting another paint layer. I however found I liked the painting as it is so I left it alone.

Overbite

2018 - 2019
120.65 cm x 242.57 cm
47.5" x 95.5"
paint on panel

I started Binary Breakdown in early 2018. It was my intention to let the painting grow and develop without meaning. I wanted to stay in a state of active meditation throughout the process of creation by keeping thought conceptually loose. Nothingness is the dominate influence in this painting.

Working flat I was able to suspend a sense of bottom and top, allowing this painting to be hung in four orientations with four different titles. I applied the titles after the painting was documented. The title Binary Breakdown refers to the disintegration of gender identity based on anatomy in contemporary culture.

Feminine and masculine  symbols create a duality in the lower half of the painting. All things flow from the single feminine symbol on the left toward the multiple masculine symbols center right. The simplicity of this dichotomous separation speaks of the human need for meaning when confronted with the discomfort of chaos. But it also speaks of the bifurcation into opposites from a single source. The Eastern philosophical symbol of Yin and Yang comes to mind. Suspended above this separation is a mass of organic shapes and colors whose individuated details can only be grasped through close observation.

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Bruce Riley