Bryan Ida

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Bryan Ida

Bryan Ida is a portrait painter in Los Angeles, California. Growing up as an American painter of Japanese descent, he claims his journey was never planned to be where he is today. Always in the realm of art, Bryan Ida went from music to artistic value in painting after working with various industries and idols, such as Sam Francis. He paints portraits of various themes he deems important. Two of the themes he created are portraits of people faced with institutional discrimination (con.Text), and his latest theme of the environment and endangered species (Nature-Endangered Species).

Early Life & Education

Bryan Ida was born in California, in Santa Clara County. Bryan played a French Horn in El Camino youth symphony and school orchestras. Throughout Bryan's high school years, he studied and had an extreme passion for electronic music. Bryan Ida states, "I was drawn to music at an early age. Being musically inclined, I began playing French Horn as a child. I played in both the El Camino youth symphony and school orchestras. Focusing upon my musical expression, I was continually seeking progressive techniques which lead to my interest in electronic music while in high school. In my university studies at San Jose State and Sonoma State University, I went on to study electronic music composition." After being drawn to music at a young age, Bryan Ida pursued musical art before venturing out into physical art, which changed his life and his name as an artist. As time came, and opportunities were provided to Ida, he soon became less interested in music, and pursued a passion and career in painting, which resulted in less of a focus on musical aspirations. Although Ida claimed expressing oneself through music is the same in painting. After studying at San Jose State and Sonoma State University in electronic music, Bryan decided to continue a career path in painting. This decision lead him to work for Sam Francis when offered a job by him.

In 1988, Bryan Ida made the decision to work for an abstract expressionist painter by the name of Sam Francis. Working with Sam gave him opportunities alongside being able to work on a commission project that would soon be later published into a united government building in Bonn, Germany. Because of his connection with Francis, Bryan was offered bigger opportunities that lead him to a world of painting explorations and an array of access. Ida was gifted the opportunity to paint in Samuel's Venice studio that he no longer used to continue painting.

Education Timeline

Sonoma State University, Electronic Music composition 1984-86

San Jose State University, Electronic Music Composition 1986-89

After years of musical expression, Bryan Ida decided to work for Sam Francis in 1988.

"con.Text"

con.Text is a virtual exhibition created by Bryan Ida that was shown at Cal State LA in the Ronald H. Silverman Fine Arts Gallery. In this series of paintings were symbols of rendering the self-inflictions from government documents to form harmful words for each subject of topic. In pen-inked strokes, each painting symbolizes a different struggle and different issue in the world, with the intent to bring light to the subject and make it well known. Bryan Ida writes, "The intent of this series is to portray individuals as the embodiment of strength and pride standing defiantly in the face of oppression and fear by a power against them. With the current social and political environment and the recent acts that repeat past abuse and injustice I am attempting to view historic events in the context of the contemporary climate."

The names of the paintings within this series are as follows: Grandfather, Neighbor, Elon, Gregory, Paul, Lorraine, Lisa, Mike, Justine, Ash, Mary Jo, Heather, Tiffany, Protestor, Marcus, Blaine, Angelin, Father, and Manzanar. Anyone can view this series on Bryan Ida's website

Deep

In his recent series called "Deep", Bryan Ida has constructed various paintings in a fading light series which contain a species that is either considered "threatened" or "endangered" to society. With the use of light and dark, Bryan Ida hopes to express and represent "the contrast between hope and despair." His statement of this recent series proclaims there is no chance of recovering the environment from the damages humans have caused it.

The following is a list of paintings within the series Deep: Snow Leopard (2022)

Royal Sun Angel (2022)

Yellow Eyed Penguin (2022)

Red Panda (2022)

Saimese Crocodile (2022)

African Elephant (2022)

Jade Mountain (2022)

Whooping Crane (2022)

Monarch Butterfly (2022)

Leatherback Turtle (2022)

Shine (2021)

Whale (2021)

Maple Fall (2021)

Orangutan (2021)

Solitude (2021)

Bee's (2021) Lost in a Sea of Green (2020)

Sunset and Desire (2020)

Rhino (2020)

Under the Brightest Moon (2020)

Polar Bear (2020)

Nature's Way (2020)

Standing Tall (2020)

Waterfront (2019)

One Tree Standing (2019)

Nature Decoded (2019)

Forest Deep (2019)

Signal (2018)

Balance Point (2018)

The series can be viewed here

AFFILIATIONS

George Billis Gallery, Los Angeles

2716 South La Cienega Blvd

Los Angeles, CA 90034

(310) 838-3685

Art Dimensions

13636 Ventura Blvd.

Unit # 307

Sherman Oaks, CA 91423

310-433-8934

Museum Exhibitions

Japanese American Museum, San Jose, CA, de Saisset Museum, Santa Clara, CA; Torrance Art Museum, Torrance, CA; Riverside Art Museum, Riverside, CA; Oceanside Museum of Art, Oceanside, CA; Los Angeles County Museum of Art (LACMA); Triton Museum, Santa Clara, CA; Museum of Contemporary Art, Los Angeles, CA; Long Beach Museum of Art, Long Beach, CA;

One Person Shows

George Billis Gallery, Los Angeles and New York; Bluerider Art, Taipei, Taiwan; California State University, Los Angeles; West Valley College, Saratoga, CA; Sandra Lee Gallery, San Francisco, CA; Smith Andersen North, San Anselmo, CA; Los Angeles Art Association, Los Angeles, CA; Bandini Art, Culver City, CA

Publications

Psychological Perspectives the Quarterly Journal of Jungian Thought “Healing Cultural Divides: A Jungian Approach” January 2021

Ions Noetic Sciences review – September 2003

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