Artist insight: Glenn Brady by Genevieve Robey

FEATURE AND INTERVIEW …

Glenn Brady’s work has been widely exhibited around Australia including solo shows at Mahoneys Galleries (Melbourne) and Metro Arts (Brisbane). He has also had a solo show in Virginia, United States. He’s twice (2007 and 2009) been a finalist in the Churchie National Emerging Art Exhibition (2007 and 2009).

Such powerful art! Of course I can see the influences of Picasso, Chagall, Munch. These paintings transcend their influences. I love them- Sally Trace, Philadelphia, USA.

Glenn was raised in Brisbane and now resides in Cabarita, New South Wales. He spends a great deal of his time in his studio, with his dog Larry, producing large acrylics and pastel works on canvas.

Glenn Brady is an outstanding Australian talent. He works like a man driven to purge emotions onto his canvas, constantly and prolifically. His works over-ride language barriers and speak to all of us on a much deeper level reminding us of places we have been, either in our waking hours or in our dreams/nightmaresHis work is bold, colourful and visually startling at times but always beautiful. Glenn has been compared to several of the old masters but I believe that his style is all his own and each painting comes straight from his soul.- Kate Carey-Peters, Melbourne.

Donating work to the Big Issue Big Art auction, the Spare Parts exhibition (both in Brisbane) and other causes and events, Glenn also shows much generosity.

I’m a huge fan of his work and I feel compelled to spread the word! On a recent Sunday evening, beverages in hand, Glenn and I had a chat about some of the things that influence his art as well as why ‘art’ is not a concept that sits very comfortably with him. Here is part of that conversation.

When and how did you start getting into painting?

Glenn: I was about 12 and at school we we’re studying poetry … Henry Lawson … Banjo Paterson … and loved it, so my mum bought me two books of poetry illustrated by Pro Hart. The paintings we’re so bright and lovely that, well something happened.

I was a little Aussie suburban boy, captain of the footy team, naughty little bloke.

I’ve never been into ‘art’…still not.

So, these Pro Hart paintings we’re so bright and stark, that it kind of lit a fuse in me. Not sure why. My parents weren’t into art, no one I knew was. I remember that I started to see things differently – where I would wander around as a boy, the train line at Geebung.

It’s odd to talk about this as the reasons I paint have nothing to do with art, was just being alive, and believing that my life was valid.

And I never had an urge to be anything, not one career. Hated school, left as soon as I could. And then did nothing. By the age of 16 I was kind of fucked.

I stopped painting at about 15 and only took it up again at 26. I had a breakdown at 16 from drugs. Parents divorced, left home. And because I didn’t know what was wrong with me I started to drink. I couldn’t go to a shopping centre, the city, a movie, get on a bus, a train – unless I had had a few drinks and wasn’t sure why.

Were there many friends or other family around you during that time?

Glenn: Only friends. This was 1982 – got right into the punk scene – drinking a lot! Playing in bands. Was a wonderful time. But always in the background I knew I was in trouble. I entered a world where doing fuck all was a career. Meeting other nutty people, drinking, sex, kind-of-relationships. Lots and lots of madness.

Having bad anxiety and not knowing why will force you into situations. I had no money, no family around, I had to bend into life. I was adrift, so to speak. And didn’t really care. The safest place for me was drunk. Still is I guess.

Are you now able to reflect on it with some more clarity, more stability than before?

Glenn: Not really. I simply paint, simply because it makes me happy and I feel that I am doing ’something’ with my ideas and thoughts, like a writer, or a movie maker.

Like punk rock, back then I said “well get fucked. I can do that as well. I can do this, smartarse, and I don’t have to be taught or pretty or anything.”

If I didn’t want to paint, I would be happy doing nothing. I would sit in park and drink and watch the world go by.

Punk philosophy was a good motivator for you

Glenn: Oh yes, very much. The anger made into beautiful noise.

Do you ever find it hard to paint?

Glenn: No, I have to do it. There isn’t anything else. Never wanted a family, kids or anything. I was a kind of ‘blank’. Life was what happened to other people.

With not having been motivated by ‘art’, what do you make of the comparisons to Picasso … Munch?

Glenn: Well its a kind of piss-off, as I put everything I have into painting, and feel and hope that it’s me in my paintings.

It’s definitely you in your paintings.

Glenn: Thanks Gen.

I guess with anything, people look for comparisons, especially things they admire.

Do you start most paintings with a clear intention of how they will finish?

Glenn: I don’t start a painting without having at least a 90% vision of how it’s going to end, or it ends in misery. But about three out of five ‘change’, hence the scribbling.

The scribbled skies are fantastic!

Glenn: Thanks Gen. ‘Hope and frustration’ should be my motto.

When you paint landscapes, where are they drawn from? Memories? Do you ever use a photo as a guide? Are they all ‘real’ locations?

Glenn: Never a photo. The factories are all from the train line, between Geebung and the Valley … Nundah, Northgate, Albion.

It’s all ‘feel’, my dear. I think “why does this place ‘mean’ something? It’s a nothing place, it’s not Paris or New York. But! There’s life here – love, hate, joy, sadness.”

An art gallery is just a room, same as a restaurant, a band venue, a house. But, put people in it and it becomes something. I love and loathe people, as we all do I guess.

I see those extremes in your work – the love and loathing, the light and dark. Many of your paintings show a largely melancholy scene, with small pocket of light shining through, an aspect I’ve really enjoyed.

Glenn: Because I’m in love with painting I try to do both. I love sunny days, but I fucking love rainy ones as well. I love colour, but I love black and white as well. Hope.

You may not think it, but that’s far more balanced than many people are. Some people are all about pink unicorns, and that is painful.

Glenn: Ha! I don’t understand it, everything is right of front of our eyes for painting ideas, for books, movies, everything.

How has living by the water influenced you?

Glenn: Well I love the sea. It scares me somewhat. And its like a bi-polar place. In the sunshine and gentle seas it’s one thing, and then grey and cloudy, it’s another. I love both. As humans we’ve become pretty piss weak.

You have developed a strong online following. With Facebook and RedBubble, was it initially strange to get instant feedback on your paintings?

Glenn: Yes, very much so. But it kind of makes it feel like an arty game in a way.

But I think that you use it in a very genuine way, you give people a lot of your time.

Glenn: I don’t do anything else, but I’m also alone a lot.

Over a longer period of time, have you noticed changes in your painting style?

Glenn: Yes, a lot. And it confuses me somewhat. I paint to suit the idea of what I’m painting.

I start all the paintings the same way. A really quick thick coat of paint. But then! Depending on what the kind of theme of the idea is, I change to suit the idea. Some are sad, some happy and in-between.

I hope its not just a result of the art that I’ve seen over the years.

As in, the ways you paint being a result of the art you’ve seen?

Glenn: Yes, a fear that its not me in there.

It seems to all be very you. But none of us are without influences from other people, whether direct or indirect.

Glenn: True. Art is silly.

I don’t really care about art, in the end its just people being clever and hanging things on a wall. Life is important.

I paint to be happy, hopefully.

Maybe it’s just the definition. Maybe it’s all art and it’s all life, and it’s just the bullshit factor you don’t like.

Glenn: Ah yes… I think so. Berets and capes

Ha! Daaaarling!

Glenn: It’s good being a hairy round bear who can paint.

I wouldn’t know

Glenn: Ha! Red bear!

The only woman I’ve seen wear green and look cool … since the 70’s

Can I put that on my resume?

Glenn: Yes!

The title of the exhibition, Cathedral of an Everyday Street, named after the painting Cathedral of a Tree-Lined Street – tell me a bit about that painting.

Glenn: Choosing a title for a show is actually a big deal for me. Well the title came to me in a ray of amber, 8am in the morning, drunken bliss while walking down the street across from me. And also my dislike of the catholic church. I was an altar boy once.

I was waltzing down this street, drunk out of my little mind, dog with me, sun was shining through the trees and I thought, “this is magical, wonderful, the colours, the simple joy of this.”

I start seeing things as ‘moments’ – good, bad, angry, sad, etcetera. I paint a lot in my head.

What else are you planning on doing when you get to Brisbane for the exhibition period? More painting? Exploring the streets again to get more inspiration?

Glenn: Not sure. I’ve always wanted to paint the Valley Mall, especially at night.

That would be fantastic!

Glenn: Yes! I’ve spent some time there and love the lights of it. I love being on trains as well. I’ve spent many hours just going back and forwards on them, drinking and watching.

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A big thanks to Glenn for the chat. You can get in touch with him via his fan group or RedBubble page