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Berg,
Bryan
guinness world record holder |
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Biyan,
Sacha Dean
photographer |
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Bryan,
Sheldon
illustrator |
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CA
Boom
west coast design show |
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Davis,
Joan Elan
mixed media painter |
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Earley,
Lori
fine art |
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Fisher,
Jeff
jeff fisher logomotives |
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Fox,
Rebecca
sculptor |
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Glitschka,
Von R.
bad design kills |
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Greis,
Ryan
pooptooth |
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Holland,
Jason
jason holland design |
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King,
Steve
furniture designer |
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Knee,
Steve
on an island |
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Landor,
Walter
advertising |
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Mason,
Wells
furniture designer |
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Morris,
Burton
pop artist |
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Murtaugh,
Tim
pirated sites |
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Nasher,
Raymond D.
nasher sculpture center |
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Perry,
Sean
Photographer |
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Rebranding
corporate integrations |
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Shaw,
Austin
fine art & illustration |
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Siegel,
Lainie
jungle 8 |
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Silent
Revolution
Andrea Toyias |
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Smith,
Phil
the art office |
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Straub,
Phil
digital painter |
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Thompson,
Andrew
interactive designer |
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Vanegas,
Santiago
photographer |
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Victory
Plaza
digital media network |
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Viosich,
George III
etch-a-sketch® artist |
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Waak,
Nathan
designers toolbox |
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Weaver,
Pat
watercolor artist |
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AOD:
Tell us a little bit about
your background? Where
are you from originally?
JOSHUA BRONAUGH:
I was born in Bavaria,
and have lived in several
places in the United States
and Europe. I travel as
often as I can, and have
taught art for colleges
in the United States and
Ukraine.
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Silt Upset
Oil on canvas.
80 x 120 cm [32 x
48 in]
2007 |
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AOD:
Who or what has influenced
your work? Are there any
artists, in particular,
you admire?
JOSHUA
BRONAUGH:
For a while, I was reading
as much phenomenology (the
study of what and how we
perceive and interpret the
world) as I could get my
hands on, particularly Maurice
Merleau-Ponty and Maurice
Blanchot.
Frank
Auerbach and Lukasz
Banach, for their rigor
in ignoring schemata, even
their own. |
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Julia
(warm portrait) detail
Oil on canvas.
122 x 100 cm [48 x
40 in]
2007 |
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AOD:
Your portraits use a vast
array of colors to capture
a person’s emotion.
How did your painting style
develop? How do you select
a feature, such as a face,
to focus on within your
paintings?
JOSHUA
BRONAUGH:
At some point I made a decision
to make paintings that,
although hinged on the armature
of an image, had expressive
surfaces, collecting hundreds
of abstract marks. I’m
pleased when I look at a
painting, especially one
of my own, if I have to
take a moment for the image
to emerge.
If I’m interested
in an individual (and I
usually am), I paint a portrait.
If I’m interested
in space, I paint an entire
figure. Either will accommodate
the other things that I
am interested in, like palette
or mood. |
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Julia
(grey portrait)
Oil on canvas.
81.21 x 122 cm [36
x 48 in]
2007 |
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AOD:
What materials do you use
to produce your work?
JOSHUA BRONAUGH:
I only paint with oil. Lately,
I have been using a lot
of medium formulas, including
liquins, waxes, milk, and
megilp. When I draw I use
graphite diluted with turpentine.
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Julia
Oil on panel.
60.96 x 60.96 cm [24
x 24 in]
2007 |
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AOD:
Take us through the process
of one of your favorite
paintings. (From idea,
sketches, etc.)
JOSHUA BRONAUGH:
I start by painting the
entire image, ignoring
faults or mistakes in
proportion and color.
I then paint that image
out with a layer of milk
colored paint mixed to
a creamy, transparent
consistency. Through this
layer of “milk”
the previous layer remains
only as a specter into
which I will begin painting
again. Before a painting
is finished, I may have
painted out the image
20 or 30 times. The grey
portrait of Julia (Yulia)
was like this. Then again,
I sometimes nail it on
the first try. |
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Ashley
(honey hair portrait)
Oil on panel.
60.96 x 60.96 cm [24
x 24 in]
2007 |
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AOD:
How do you keep yourself
motivated and interested
in painting? Do most, if
not all, of your artworks
reflect your mood at the
time of creation?
JOSHUA BRONAUGH:
Painting allows me to think
in any way I need (or want),
I think of paint as inseparable
from thought. It is a cliché,
but painting really has
no limits other than those
that are self-imposed. It
is in that freedom that
I learn and develop.
The work does reflect my
mood and even allows me
to retain that mood or original
sensation. Making these
paintings isn't so different
from struggling to remember
something that has just
left my mind, encouraging
that item and, subsequently,
my mood to remain in a constant
state of re-emergence. |
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Liz (I see
through a migraine)
detai
Oil on canvas.
161.7 x 161.7 cm [64
x 64 in]
2006 |
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AOD:
Is there any advice
you'd give to those aspiring
to be artists?
JOSHUA BRONAUGH:
Work more often
than you think you should.
Read more than you think
you should. Network. Be
respectful. |
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Hog II
Graphite
on paper.
101.5 x 81.5 cm [40
x 32 in]
2006 |
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AOD:
Any art showings you would
like to share with us?
JOSHUA BRONAUGH:
Group exhibits:
CARNIVORA: The Dark Art
of Automobiles
L'Imagerie Gallery, Los
Angeles, CA (April is a
good guess)
Fuse Gallery, New York,
NY (summer)
The Figurative Show
LeQuire Gallery, Nashville
TN (September 6 –
October 31, 2008) |
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Cow
Watercolor
on paper.
101.5 x 81.5 cm [40
x 32 in]
2006 |
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Self Portrait
Joshua Bronaugh |
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For
more information about Joshua
Bronaugh visit:
www.joshuabronaugh.com
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to be featured on
the AOD site? Submit
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