Bress biography
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Young Guns
Brian Bress, a Los Angeles based artist and filmmaker, creates absurd, circularly narrative films driven by the circumstances of a bizarre cast of ridiculously costumed characters, more often than not played by Bress himself. Brian received a BFA in film from Rhode Island School of Design and a MFA in painting from University of California, Los Angeles. His collages, photographs, videos, sculptures and paintings have been exhibited in various group shows and film festivals in Los Angeles, Chicago and New York, including Spike and Mike’s Festival of Animation, Black Maria Film Festival, New York Director’s Club Biennial and The LA Weekly Biennial. Brian Bress’s work will be the subject of a solo show curated by Ellen Rudolph at The Akron Art Museum in October 2018. Bress’s work was recently included in “Commercial Break” (Public Art Fund, New York, NY) and the 2016 Moving Image Biennial at the Centre d'Art Contemporain Genève, curated by Caroline Bourgeois, Andrea Bellini and Massimiliano Gioni. A touring solo museum exhibition, “Brian Bress: Make Your Own Friends,” traveled in 2016 from the Utah Museum of Fine Arts (Salt Lake City, UT) to the Museum of Contemporary Art Denver (Denver, CO) to the Orange County
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Eric Bress
American screenwriter
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Filmography
[edit]Film
[edit]Television
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Brian Bress has described himself as coming to video with the agenda of a painter. His single- and multi-channel videos address the connections between film, photography and painting, and the two-dimensional picture plane these mediums share. Presented as wall-mounted HD monitor works, Bress’s videos unfold as a soundless, digital loop in which isolated actors (often the artist himself) perform in various forms of dress. The faces, torsos, and arms of these characters are obscured by painted masks and suits. They face frontal and use the HD monitor’s screen as a picture plane through which they cut with reciprocating saws to reveal their own presence.
Bress uses new technology to address old issues pertaining to art: form, color, space, and composition. The “animated paintings” (Andrew Bernardini, “Art Agenda,” June 9, 2017) are always neatly presented and framed, as though the video is a window in which we may peer into Bress’s world. Each component found in the work is made in studio, from the costumes to the shallow sets in which his characters act. While the mechanics of the camera rationalize Bress’s actions two-dimensionally, the action in the studio is physical. It is the movement of Bress’s own body that cr