Our June Artist Interview features master painter, Brad Davis! Linda Wehrli‘s hubby, Barry recommended this artist to us. Through Abend Gallery‘s monthly newsletter, we discovered his solo exhibition, End of an Era, and are excited to share it with our readers.

Abend Gallery is one of my favorites, so I was ecstatic to interview one of their top artists! Please sit back, grab a refreshing bev, and enjoy learning about this masterful artist and his work.

JLS. What is your style of painting referred to? For our art students, would you please describe what this style means or represents?

BD. I work in what would probably be considered to be “contemporary realism”. This means that I use methods of painting from observation to portray current day scenes. I paint in a “direct” approach mostly, so the paint is applied opaquely and layering is minimal.

JLS. Nice. Much of your paintings feature cars, architecture, and urban decay. What is the story or inspiration behind your choice of subject matter? Do you create the paintings off the top of your head or work from photos?

BD. When I make work in the studio, I work from photos and sketches. However, I keep up a consistent practice of painting “en plein air” which means that I paint outside onsite. Those paintings inform what I do from photography. I’m always making efforts to interpret the photos I use rather than copy them. Photography is flat and paintings have dimension, so I want to show that as fully as I can.

JLS. Makes total sense. Thanks for sharing. I understand you currently have a solo show at Abend Gallery. Congrats! What is the meaning behind the title, “End of an Era”? Can you provide exhibition dates and an online catalog for those that cannot attend? Thank you.

BD. Yes! End of an Era was chosen as the title for this body of work because the paintings are about themes of loss in my life. Every painting is a portrayal of something that I have directly experienced and each has layered narratives that reference the tenuous nature of our changing worlds. The exhibition is currently on view and will be through June 14th. However, the work will still be at the gallery and online so collectors may contact the gallery to inquire about paintings.

JLS. Great title for your show! Thanks for the dates and gallery intel. May I ask, are you represented by any other art galleries other than Abend? For our students, what do you believe are the pros and cons of gallery representation?

BD. Yes, I am represented by F.A.N. Gallery, Sugarlift Gallery, and Eisele Gallery. In my experience, a gallery offers a base of collectors that I might otherwise not have access to. However, they do take a substantial percentage for doing their part in showing and promoting the work which is up to 50%. If you are an artist considering working with a gallery, be wary of signing any contracts that exclude you from working with others or from selling on your own. I would urge artists to always see a gallery as just one source of income and exposure and not to rely too heavily.

JLS. Insightful points. Our students are interested in the latest tools of the trade. Would you kindly reveal, what is your preference for paints and brushes? Do you use oils or acrylics? Do you paint on canvas board, panels, or…? Do you finish with a varnish or leave as is?

BD. I paint in oils. If you’re an artist using acrylic, I’d encourage you to try oil because it is much richer and history has proven it to be more archival. I am not too much of a purist when it comes to brands of paint and brushes, but I never use “student grade”. I stick to Gamblin, Winsor and Newton, and Williamsburg. If you can afford it, Williamsburg oils are the best I’ve experienced and their pigment is the strongest. There are of course many other brands like Old Holland, Vasari, and Rublev which have more concentrated, higher quality pigments. For brushes, I don’t think it matters much as long as you take good care of them. I stick to bristle brushes mostly and use synthetic or sable for softening edges and glazing occasionally. I really like Rosemary and Co. brushes. They’re the best I’ve used, but Signet is comparable from the art stores if you’re not ordering online. 

When it comes to the surfaces I paint on, I only use panels unless it’s something huge. In that case, canvas is good because it can be rolled up and shipped. I make my own panels and stretch my own canvas. It’s always better than buying it from the store. Birch veneer plywood or oak plywood from the hardware store is best but masonite is fine as long as it is sized to avoid acid leech. I prepare the wood panels first with gesso and then a shellac layer after drawing out the composition in charcoal for studio works. When I paint outside I just jump in with oils. I always varnish the painting at the end to bring colors back to their intended saturation as well as to protect the surface.

JLS. Thanks for the intel! We also recommend Winsor & Newton Water-soluble Oil for our Oil Painting 401 Course. I love Rosemary Brushes, too. At what age did you realize you wanted to be a professional artist?

BD. I was always following in the footsteps of my father who is an artist and taught elementary art for 40 years, so I was constantly drawing. I think I knew most certainly that I wanted to pursue art when I was a freshman or sophomore in high school.

JLS. Runs in the fam! Did anyone try to talk you out of venturing into an art profession? If so, how did you handle it?

BD. I’ve had, and occasionally continue to have, people here and there that try to talk me out of the art profession. My way of handling this has always been to listen courteously and politely… and proceed to continue painting with as much confidence as I ever had before. From the moment you decide you’re an artist, that should forever be your path. Even if you find yourself doing other jobs to pay the bills, it is in service of your art and exists as a means to an end. Take your art and yourself as seriously as you can and only passively listen to those around you who discourage it.

JLS. Inspiring, thanks! Did you study art in college, attend masterclasses or are you self-taught? What are the pros and cons of studying at a university vs. self-taught? Were any masterclasses memorable? With whom did you study?

BD. I attended art school at the Art Academy of Cincinnati where I received my BFA and I went to the Pennsylvania Academy of the Fine Arts in Philadelphia for my Master’s Degree. During my BFA, I realized that I wasn’t getting the training I desired, so I sought out instruction from local painter Richard Luschek who graciously took me on as a private student in his studio. Working under Richard simulated the atelier experience where I worked from the cast and eventually full color still life. This is when I was able to learn the “sight size” method of painting from observation which has in certain ways continued to influence my observational work.

JLS. So cool you received private instruction from a local master painter! What is some advice you can give the young artists studying at Pastimes?

BD. The first thing I’d tell a young artist is that you must find the artists that you love and want to be. Collect up their names, both the living and the dead, and keep the image of their work in your mind at all times. Then copy them. Go to as many museums as you possibly can and try to figure out how they did what you want to do. Once you have this working mental catalog of the artists that excite you, get to WORK. Work doesn’t mean waiting for the perfect moment to paint. In fact, it often means painting when you don’t feel like it. But if you keep working, you’ll be amazed by your own progress and those artists who felt out of reach will feel a little closer with each painting. If you want to be a painter for a living, realize that you’ll likely supplement this life with other creative endeavors. This is not a bad thing, it actually makes the work more interesting. Art is a reflection of a life lived. As long as you never stop painting, you are a working artist.

JLS. Sound advice – thank you. Art can touch people’s lives, bringing happiness and hope. For example, my boss Linda Wehrli, partners with CoachArt to provide free art classes for families impacted by childhood chronic illness. Is there a charity you are fond of or support, that you might like our readers to learn more about?

BD. This is something that I actually should have a better answer for, but right now the best I can say is that once you have begun to collect up your knowledge and are more confident in your skills, share them as much as you can. I am always willing to answer questions anyone has for me and I will do as much as I can to demystify a life which many feel is unattainable. The art world is so much smaller than you would imagine, so being generous is vital. Treat others’ successes as your own and give back whenever the moment presents itself.

JLS. I think that’s a great answer! 🙂 Do you have a favorite quote or mantra you turn to for inspiration?

BD. A SMOOTH SEA NEVER MADE A SKILLED SAILOR!, Franklin D. Roosevelt.

Thanks again to Brad for this insightful interview!

Want to learn more about this fantastic artist? Check out his website and Instagram.

We hope you enjoyed this month’s Artist Interview blog! Curious to learn how to draw? Pastimes offers an Intro to Drawing with Graphite Course. Set up a free consultation today!

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