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Alle Tode bin ich schon gestorben
-Hermann Hesse
-Hermann Hesse
Brian Burris has been painting for over twenty
years. He is a primitive, in the sense that he is
self-taught.
Originally, he more closely identified with the
abstract expressionists, with the emphasis on the
'automatic' or subconscious act of painting, the
accompanying emotional intensity and the
anti-figurative, sometimes violent and grotesque
aesthetic; sometimes violent and grotesque life.
After a seven-year hiatus, Mr. Burris returned to
painting and segued into the more minimalist style
seen in color field painters like Clyfford Still,
Rothko, and Barnett Newman. Burris began to
explore the parallel themes of the spiritual, and the
unconscious mind, reflected in the painting process
itself progressing according to both the will of the
subconscious and the properties of paint and
canvas, letting the execution and the subject matter
become analogous to the unconscious psyche
asserting and expressing itself, where unconscious
meets chance, spirituality borders on psychology,
and the implications of archetypal awareness and
gnostic meaning surface through the medium.
The artist received some attention for his
non-traditional artist's statements, more
'manifestos'. Based in his background in behavioral
modification and studies in psychology (including
that of non-verbal communication), the effects of
hue, declination of line, image juxtaposition and
compartmentalization on specific areas of the brain,
as well as archetypal imagery, Burris explores the
nature of non-verbal communication of context and
emotion through color fields.
In late 2008, Mr. Burris published a collection of
works, 'Codex: Fragments & Schemata', a montage
of paintings juxtaposed with artist statements and
fragmented graphics meant to invoke the semblance
of gnosis: knowledge or insight into the infinite or
divine. The conceit being hidden knowledge carried
by prose as disinhibiting stimuli, targeting the
unconscious self by transcending linear formula and
allowing the message to bypass ordinary
consciousness, with parallels found from Voegelin
to William Blake and the Pistis Sophia, to Philip K.
Dick, held up to the mirror of Hillman and/or depth
psychology.
years. He is a primitive, in the sense that he is
self-taught.
Originally, he more closely identified with the
abstract expressionists, with the emphasis on the
'automatic' or subconscious act of painting, the
accompanying emotional intensity and the
anti-figurative, sometimes violent and grotesque
aesthetic; sometimes violent and grotesque life.
After a seven-year hiatus, Mr. Burris returned to
painting and segued into the more minimalist style
seen in color field painters like Clyfford Still,
Rothko, and Barnett Newman. Burris began to
explore the parallel themes of the spiritual, and the
unconscious mind, reflected in the painting process
itself progressing according to both the will of the
subconscious and the properties of paint and
canvas, letting the execution and the subject matter
become analogous to the unconscious psyche
asserting and expressing itself, where unconscious
meets chance, spirituality borders on psychology,
and the implications of archetypal awareness and
gnostic meaning surface through the medium.
The artist received some attention for his
non-traditional artist's statements, more
'manifestos'. Based in his background in behavioral
modification and studies in psychology (including
that of non-verbal communication), the effects of
hue, declination of line, image juxtaposition and
compartmentalization on specific areas of the brain,
as well as archetypal imagery, Burris explores the
nature of non-verbal communication of context and
emotion through color fields.
In late 2008, Mr. Burris published a collection of
works, 'Codex: Fragments & Schemata', a montage
of paintings juxtaposed with artist statements and
fragmented graphics meant to invoke the semblance
of gnosis: knowledge or insight into the infinite or
divine. The conceit being hidden knowledge carried
by prose as disinhibiting stimuli, targeting the
unconscious self by transcending linear formula and
allowing the message to bypass ordinary
consciousness, with parallels found from Voegelin
to William Blake and the Pistis Sophia, to Philip K.
Dick, held up to the mirror of Hillman and/or depth
psychology.
Like the Zen koan, or the moment of reflection
in which the memory does not come, or that which
lures by its absence… this montage evokes ‘the
forms of an idea of the thing and its aspects, and
brings the viewer to succumb to the illusion of the
whole’ (to paraphrase Jung).
The themes explored run from the Gnostics to
quantum physics, Freud to Hillman; to where the
metaphysical meets the subconscious, and on the
verge of the crest of sudden awareness, that
intuitive revelation, the artist, Judas-like,
disavows the meaning and implications as mere
fictions and device.
Brian Burris shows a half-dozen times a year,
and is represented by the Dzian Gallery on Water
Street in Worcester Massachusetts. He shows
through ArtsWorcester, as well as in corporate,
institutional, and retail settings. He has shown in
various venues from Cambridge to Northampton.
An entry of the artist's name into any search
engine will produce the various links with
information where to purchase his book, related
media, past articles, and show venues.
in which the memory does not come, or that which
lures by its absence… this montage evokes ‘the
forms of an idea of the thing and its aspects, and
brings the viewer to succumb to the illusion of the
whole’ (to paraphrase Jung).
The themes explored run from the Gnostics to
quantum physics, Freud to Hillman; to where the
metaphysical meets the subconscious, and on the
verge of the crest of sudden awareness, that
intuitive revelation, the artist, Judas-like,
disavows the meaning and implications as mere
fictions and device.
Brian Burris shows a half-dozen times a year,
and is represented by the Dzian Gallery on Water
Street in Worcester Massachusetts. He shows
through ArtsWorcester, as well as in corporate,
institutional, and retail settings. He has shown in
various venues from Cambridge to Northampton.
An entry of the artist's name into any search
engine will produce the various links with
information where to purchase his book, related
media, past articles, and show venues.
| elysium |
| 2009 |
And death shall have no dominion.
Dead men naked they shall be one
With the man in the wind and the west moon;
When their bones are picked clean and the clean bones gone,
They shall have stars at elbow and foot;
Though they go mad they shall be sane,
Though they sink through the sea they shall rise again;
Though lovers be lost love shall not;
And death shall have no dominion.
~Dylan Thomas
Dead men naked they shall be one
With the man in the wind and the west moon;
When their bones are picked clean and the clean bones gone,
They shall have stars at elbow and foot;
Though they go mad they shall be sane,
Though they sink through the sea they shall rise again;
Though lovers be lost love shall not;
And death shall have no dominion.
~Dylan Thomas
