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Life has deeply shaped my artistic perspective as with all artists embarking on a unique and transformative journey. In the early 1990’s, while attending the Cooper Union, I honed my creative skills, laying the foundation for a career in art and design. For many years, I immersed myself in the vibrant art scene of New York City, managing the legendary design store Moss and working directly with its creator, Murray Moss, to further develop my aesthetic. Additionally, I co-founded the artist collaboration COLAB247 with fellow artist William Riley, author Carmel McMahon, and designer Andrew Cinnamon. Our work delved into social issues long before it became a popular trend. We hosted large events, held gallery showings, and propelled ourselves forward with the energy of youth.

 

My life took a new direction following a revelatory road trip around America with collaborator Carmel McMahon and a return to New York just three weeks before 9/11. I found myself reflecting on how the business of art-making affected me, realizing that I needed a change from the sometimes unhealthy world I had been a part of. I began practicing yoga, pursuing a path of self-wellness and healing. This journey led me to study massage at the Swedish Institute in NYC, where I was introduced to the art of holistic healing and assisting others in achieving balance in their lives.

 

For over 15 years, my focus has been on guiding others toward well-being, infusing many of my artistic sensibilities into the realm of wellness. While my commitment to helping others achieve balance has been paramount and my personal artistic endeavors have taken a back seat, I have continued creating artwork, although showcasing it has become a secondary concern.

 

Now, at 52 years old a newfound energy has me shifting once again. Inspired by repeat visits to New Orleans, I feel it is time to bring the showing of my work to the forefront of my endeavors once again. I am currently seeking partners to help bring my current creations to a broader audience.

BRIAN RILEY ART BIO

As an artist, I am fundamentally influenced by the intricate tapestry of the world around me. My creative endeavors serve as a means to visually articulate the depths of my emotions and feelings, translating the intangible into tangible forms that viewers can engage with. Guided by this pursuit, I often find myself immersed in working on series that unfold over extended periods, spanning from weeks to even decades. These series serve as a visual diary of my journey, capturing the evolution of my thoughts and sensations.


In terms of mediums, my creative expression primarily takes shape through drawing, painting, and photography. The choice of medium is profoundly personal, guided by an intuitive understanding of what best aligns with the inspiration that sparks within me. Whether wielding a brush, pencil, or camera, each stroke or click is a conscious step towards translating my inner world onto a canvas or print.


The context and environment I create within significantly shape my artistic output. The time of day, the season, and even the ambiance of the space I occupy all intertwine to influence the essence of my work. My surroundings serve as muses and collaborators, infusing my creations with a palpable sense of place and time.


Over the past decade, my creative journey has led me to the enchanting city of New Orleans. The city's bruised beauty and rich history, interwoven with layers of resilience and vibrancy, have become a profound wellspring of inspiration for me. My most recent work is taking shape within the soulful streets and hidden corners of New Orleans, each piece bearing the imprint of the city's essence.


My artistic practice continually explores self-discovery and introspection, a visual dialogue between my inner world and the external milieu. Through my works, I seek to unravel the complexities of human experience, inviting viewers to delve into the kaleidoscope of emotions and impressions that define our shared existence.

BRIAN RILEY ART STATEMENT

Museum Exhibition
2014 The Portrait in Process, The International Photography Hall of Fame and Museum, St. Louis

 

Solo Shows

 

2018 Colors, The Montclair Public Library Gallery. Montclair, New Jersey
2017 The Element Of Water, Gateway Project Space,  Gallery 2, Newark N.J

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Gallery Exhibition

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2023 Affordable Art Fair NYC, I le Gallery

2023 Affordable Zurich Germany, I le Gallery

2022 Affordable Art Fair NYC, I le Gallery

2021 Affordable Art Fair UK, I le Gallery

2018 Fall Residency Showcase, The Con Artist Collective. N.Y. New York 
2015 Source of Life, Palevsky & CO. Brentwood, CA.
2014 La busqueda de la belleza, ileGallery, Sitges Spain
2014 The last of its kind, BRPS Gallery, NYC
2014 One Past Self, Fountain Art Fair NYC, Phantom Gallery, NYC
2013 Berlin Calling, Berlin Photo Festival'13, Bezirksamt Friedrichshain-Kreuzberg, Berlin Germany
2012 Dyptichs with Jessica, BRPS Gallery, NY
2011 The Stories We Tell, BRPS Gallery, New York, NY.
2010 Entomologia, Observatory Gallery, Brooklyn, NY.
2009 Cabinet of Curiosities, Holden Luntz Gallery, Palm Beach, FL.
2007 ARTCO for Banana Republic, Banana Republic 500 Global Stores.
2006 Brian Riley Eyemazing Playing Cards, Paris Photo, Carrousel du Louvre, Paris France.
2006 Past and Present, Clamp Art, New York, NY.
2006 Palm Beach 3, Holden Luntz Gallery, Palm Beach, FL.
2006 On Skin, The Body as Landscape, Holden Luntz Gallery, Palm Beach, FL.
2005 Twentieth Century Emerging Artists, Leslie-Lohman Art Foundation, New York, NY.
2005 14th Annual Center Awards, Center For Photographic Arts, Carmel, CA.
2005 Post Cards From The Edge, Visual Aids Benefit, New York, NY.
2005 Photo Brooklyn, Tom Ripely Inc. Brooklyn, NY.
2004 Drawing Men, The Leslie-Lohman Art Foundation, New York, NY.
2004 Noe-Erotique, Art@Large Gallery, New York, NY.
2004 Scope NY, Toomey Tourell Gallery, San Francisco, CA.
2004 Art Basil Miami, Toomey Tourell Gallery, San Francisco, CA.
2003 New Video, The Leslie-Lohman Art Foundation, New York, NY.
2003 The Kiss, The Leslie-Lohman Art Foundation, New York, NY.
2002 Artists Benefit Auction, Toomey Tourell Gallery, San Francisco, CA.
2000 First, Colabspace, New York, NY.
1999 Mall Arica, Moss Gallery, New York, NY.
1999 New Visions, Jonathan Shorr Gallery, New York, NY.
1999 Dead Baby, Moss Gallery, New York, NY.
1998 Saints and Bacteria, The Last Exit Gallery, Brooklyn, NY.
1998 The Natural Disasters, Moss Gallery, New York, NY.
1998 Cyber Girls, Moss Gallery, New York, NY.
1997 Space Station CL247, The Carlton Arms Hotel, New York, NY.
 
Awards
The Pietro and Alfreda Montana prize for excellence in live model drawing.
Honorable Mention in Photography, Grady T. Turner, Neo-Erotique Exhibition, New York, NY
 

Residencies

2018 Fall Residency, The Con Artist Collective, N.Y. New York


Publications
The OPERA issue 2, Berlin Germany 2014
Eyemazing Playing cards Eyemazing Magazine 2006
Surface Magazine, issue no.19 "Mixed Messages" The evolution of aesthetic.
Deep Blue, Blue Books 2004, Sydney Australia.
Eyemazing Magazine, Winter 2004, Amsterdam The Netherlands.
HX Magazine, January 2005, New York, NY.
 
Education
1994 BFA The Cooper Union, New York, NY.
2008 Associate Degree in Occupational Sciences,  The Swedish Institute of Massage Therapy New York, NY.
 

 

BRIAN RILEY ART RESUME
THOUGHTS 4-10-24

As an artist, I endeavor to create works that transcend mere representation and embody a sense of place within themselves. Currently, I am painting in my studio. I believe that paintings have the power to exist as autonomous events, each possessing a unique energy that resonates with other events both within and beyond the canvas. In my view, a painting is not simply a static image but rather a dynamic moment, a living place, and an unfolding event in its own right.


I am committed to the idea that a painting should be allowed the freedom to stand on its own merits, untethered from the constraints of depicting a specific memory or a particular time and place. By releasing the painting from representational expectations, I believe it can more fully realize its potential as a self-contained world, inviting viewers to immerse themselves in its richness and complexity, allowing them to make connections and form their relationships.


In my artistic practice, I strive to create paintings that evoke a sense of presence. I invite viewers to engage with the work on a visceral level, experiencing it as if stepping into a new and vivid reality. By infusing my paintings with energy and vitality, I seek to spark connections with the viewer, encouraging them to explore the interplay of color, form, and texture that defines each unique event on the canvas.


Ultimately, I view painting as a form of alchemy, transforming raw materials into moments of luminous presence that resonate with the viewer's spirit. By honoring each painting's autonomy as a place, an event, and a moment unto itself, I seek to create works that transcend time and space, inviting viewers to journey into a world where the imagination is free to wander and wonder.

 

I have a unique relationship with each work. The studio presents numerous challenges beyond the act of art-making. I often describe painting as a battle, one that is particularly demanding because it consists entirely of abstract elements crafted by my own hands. My works represent relationships involving continuous exchange, pushing, and pulling. I feel deeply connected to them some days, while I almost resent them on others. 


During my recent painting sessions, I was immersed in a fierce battle. The artworks began to push me to my limits, evolving and growing until they unexpectedly reached a point where they refused to progress further. At that moment, all the underlying issues surfaced. What I once admired now seemed flawed and disorganized, turning the harmonious process into a challenging, murky landscape that was difficult to navigate. Each step resembled wading through a swamp, filled with uncertainty and obstacles.


Such experiences are not uncommon in my studio. As with all artists, this can creep into life and has sometimes made me step away from the art-making process completely. A misstep can collapse days, weeks, or years of work, while steady navigation can reveal unforeseen creative opportunities.

 

Sitting now with a new body of work, I reflect on my past arduous journies. Having just wadded through one over the last few studio days, I feel I have successfully traversed the swamp this time. Today, I am inspired, tomorrow?

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