Jack Fischer Gallery is pleased to announce the opening of gone fishing, an exhibition featuring the work of sculptor Robert Brady. Raised in Reno, Nevada, Brady discovered an interest in sculpting with clay at a young age. He studied at the California College of Arts and Crafts and later earned an MFA at UC Davis. Brady started working with wood in 1989, and since then has continued to move back and forth between wood and ceramics with forays into mixed media and works on paper. His sculptures often seem to translate elements of the fluidly additive and reductive language of clay into an ever-expansive practice in wood. The work tends toward abstraction, but is not bound by geometric, biomorphic or sometimes more clearly figural and representative styles and forms. Sometimes Brady’s sculptures take on a look of functionality, with more structural compositions or even direct references to tools. The artist speaks of his process as restless and non-linear: “I move slowly in a circle, picking up, sorting, discarding and eventually retracing my path, seeing and finding anew. I am not interested in squeezing all I can from an idea. I like variety and change, uncovering. Seeing what if.” Brady’s works are held in many prominent public collections, including the San Francisco Museum of Modern Art, the Los Angeles County Museum of Art, and the Stedelijk Museum in Amsterdam. He has had recent solo exhibitions at the Stremmel Gallery in Reno and Braunstein/Quay in San Francisco. In 2006, a retrospective of his work traveled from the Palo Alto Art Center to the Di Rosa Preserve in Napa, the Fresno Art Museum, the Katzen Arts Center in Washington DC, and the Fuller Craft Museum in Brockton, MA.
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Jack Fischer Gallery is pleased to announce the opening of gone fishing, an exhibition featuring the work of sculptor Robert Brady. Raised in Reno, Nevada, Brady discovered an interest in sculpting with clay at a young age. He studied at the California College of Arts and Crafts and later earned an MFA at UC Davis. Brady started working with wood in 1989, and since then has continued to move back and forth between wood and ceramics with forays into mixed media and works on paper. His sculptures often seem to translate elements of the fluidly additive and reductive language of clay into an ever-expansive practice in wood. The work tends toward abstraction, but is not bound by geometric, biomorphic or sometimes more clearly figural and representative styles and forms. Sometimes Brady’s sculptures take on a look of functionality, with more structural compositions or even direct references to tools. The artist speaks of his process as restless and non-linear: “I move slowly in a circle, picking up, sorting, discarding and eventually retracing my path, seeing and finding anew. I am not interested in squeezing all I can from an idea. I like variety and change, uncovering. Seeing what if.” Brady’s works are held in many prominent public collections, including the San Francisco Museum of Modern Art, the Los Angeles County Museum of Art, and the Stedelijk Museum in Amsterdam. He has had recent solo exhibitions at the Stremmel Gallery in Reno and Braunstein/Quay in San Francisco. In 2006, a retrospective of his work traveled from the Palo Alto Art Center to the Di Rosa Preserve in Napa, the Fresno Art Museum, the Katzen Arts Center in Washington DC, and the Fuller Craft Museum in Brockton, MA.
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