Amory began the Waiting series in 2001 with paintings depicting commuter subjects seemingly detached from their fellow passengers and surrounding environments, inspired by the introverted culture of public transit and inhabitants of the Tenderloin neighborhood of San Francisco.
Amory had this to say of his recent works:
This new group of paintings continues to capture an individual’s struggle to exist in the present moment and the continued state of detachment from one’s surrounding environment. However, this new body of work depicts an element of freedom, as the subjects strive to transcend consciousness and human existence: freedom of thought, freedom of perception, freedom to create one’s own narrative.
I would agree, this latest installment is by far his most ethereal and transcendent of the series. At first glance, the pale, desaturated color pallette seem almost airy, but after extended study, one finds the whiteness is no less heavy than the deepest night. Amory’s controlled compositions deftly pushes the viewers eye inward and forces consideration of his subject. One can then find the intangible longing that drifts between man’s inescapable physical binds (their jobs, possessions and burdens) and their unspoken emotional longing to be someplace (or someone) better.
Below is a brief sampling of earlier paintings from the series ‘Waiting’ – as you can see the emotional spaces he gently walks the viewer through are vast. Through the years he has explored a wide range of visual interpretations – I encourage you to visit his extensive website to view more work.
Brett’s work has drawn the adoring eye of many top galleries such as Jonathan LeVine Gallery in NY, he’s designed limited edition bottles for Absolute Vodka and Woodford Reserve Bourbon, and he’s been extensively featured in well-regarded magazines such as Hi-Fructose and Remember Paper Magazine. To say he is white-hot is an understatement.
Congratulations and thank you for your time Brett!