Tom Brady, New Paintings
Thomas G. Brady attended the Heatherly School of Art, London, England in 1972. He received a BA from Amherst College, attended the New York Studio School and received his MFA from the Tyler School of Art in 1982. Tom has exhibited in galleries and museums throughout the East Coast. He was the recipient of a painting Fellowship from the Pennsylvania Council on the Arts, a Pew Fellowship Award and the Pollock Krasner Foundation Grant in 2000. His work is included in the permanent collections of the Eleanor D. Wilson Museum, The Woodmere Art Museum, and the Mead Art Museum. His work is also in numerous private and corporate collections throughout the country including Widener University, Morgan Stanley, Lenfest Foundation, SmithKline, Saul Ewing, Drinker Biddle, Blue Cross and Core States Bank.
Tom Brady’s paintings differ from the antiquated 19th century Philadelphia tradition of realism, the aesthetic associated with the teachings of the Academy. They are instead in the tradition of the Blaue Reiter and Fauvist art movements. This aesthetic emphasizes painterly qualities and strong color more than realistic representation. The metaphor created by Brady’s work speaks to the experience of the moment and to the place where reality meets abstraction..
Group Show in Center Gallery
Don’t Miss the exceptional Artists in Borrelli’s Chestnut Hill Gallery during the month of October, as well. Featuring Helene Halstuch, Judy McCabe Jarvis, Dan Brewer and Betz Green. Most will be on hand at 10/7 reception to greet and meet. Please check the Gallery website for examples of their work.
“Art always makes a political statement. Half of art is what you choose to paint, the other half how you paint it. I choose to paint workers, people on the streets, landscapes inhabited by family farmers invisible to the corporate life. I grew up the only son of a truck driver when unions equaled freedom and workers were crusaders in the cause.
On a chilly morning, I stand off to the side, color pastels and sketchbook in hand; people are huddled, waiting and watching; cabbies sip coffee; black suits rush by. The bus pulls up, the old guy stands, cane leading, he moves in line to board. The bus, the line, the man and the cane create the moment, and my frantic drawing begins.
In the studio with fifty colors and just as many brushes, music blaring, I attack the painting. All at once, creation in a moment, cover all the canvas, mark against mark, movement and counter movement, yellow always yellow, gobs of white, cans of turpentine, piles of rags. Paint over paint, colors upon colors makes new colors, sensuous and gestural. What are the essentials, what is real, what is important, what is true?
Two processes are intricately related, the initial inspiration of the street pastel and the physical transformation of the image into paint. These are simple processes as long as you are willing to throw out forty of the fifty initial pastels and from the few that are really are inspirational, willing to make fifty new preparatory drawings. Then you paint for 40 years, hope and pray and with a little luck, the culmination of the processes has magically taken on a life of its own.”
Thank you to Tom Brady for the content of this post.