About
Brandon Woods is an independent artist best known for his geometric abstract paintings, which investigate the interaction of art, language, and the science of the mind. An artist with a heavily research-based and interdisciplinary practice, Woods creates his work through the use of equations and algorithmic processes of his own design. Working in a four-dimensional arena, he constructs sculptural panels upon which he paints abstract imagery, establishing virtual space on the panel’s surface which changes in color and composition relative to the viewer’s physical proximity to it. The combination of the dimensional panels and the images he creates upon them allows him to direct the viewer’s perception of dimensionality across physical space, virtual space, and time. Woods earned his MFA in Painting from SCAD in 2015. He has received numerous awards and grants for his work, including, most recently, a Bailey Opportunity Grant through the Knoxville Arts & Culture Alliance. His work has been exhibited and collected throughout the United States and internationally, in New York, Atlanta, Los Angeles, Miami, Hong Kong, Canada, and France. He currently lives and works in Knoxville, TN.
Statement
My process is heavily research-based and interdisciplinary; I draw from diverse fields of study such as modular arithmetic, neuroscience, color theory, carpentry, and computer programming in order to investigate the interaction of art, language, and the science of the mind. My focus is on the roles of language and memory in the cognitive processes involved in the viewer’s translation of sight into perception and in their generation and application of meaning to abstract, visual imagery. My works are a synthesis of analytical craftsmanship and intuitive expression: working in a four-dimensional arena, I design and construct dimensional panels which vary simultaneously in height, depth, width, and/or pitch. Projecting outwards from the wall, my dimensional works activate the space around the viewer and establish a sculptural presence which places emphasis on the viewer’s interaction with the work and perception of it. I often adhere linen to these panels, and then create paintings with hard-edge, linear elements and luminous fields of color upon them. Slowly woven through complex glazes of carefully selected colors, my  approach yields compositions which activate virtual space and time, subtlety changing in color and composition relative to the viewer’s physical proximity to the work. This effect is emphasized to the point that even the viewer’s height, posture, and orientation becomes a part of the reading of the work itself. To this end, viewers are able to have an active, participatory role in their engagement with my work, as the gestalt product of the varying dimensions and compositions in each of my works results in a time-based drama that unfolds for every viewer who engages with the work, telling a story unique to each of them, as they connect that work to their individual past experiences and memories. I encourage my viewers to relish the individual experience they have with my works and to embrace the memories they associate with it, as I direct their perception of dimensionality across physical space, virtual space, and time.
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