Page 61 - Reader's House magazine

Brendan Neiland’s vibrant abstract composition invites viewers into a dynamic exploration of urban life, where bold colors and geometric patterns reflect the pulsating energy of cityscapes. Each section of the painting captures the intricate interplay of light and structure, embodying Neiland’s fascination with the modern metropolis and his journey from the serene landscapes of East Anglia to the vibrant streets of Birmingham and beyond. of modernity in all its raw and commitment. polished forms. I spent some months in various factories making colour studies How has your background and education influenced your approach of the huge iron ingots being to painting and printmaking? parts for ships and cars. I lived in East Anglia until I was fourteen, peaceful, blissful, huge skies with lush flat Brendan Neiland’s mastery meadows. And then I mo- ved to Birmingham. lies in his ability to capture the Amazing, all embracing. beauty, complexity, and vibran- From Constable to Fernand Leger. cy of urban life with profound emotional resonance. D R A F T but it is the walking and being totally immersed in the environ- ment that is primarily important. At first the city buildings smelted and turned into beautiful provided my inspiration with the reflections of the sky and the traffic. Gradually the advertise- In 1996 I was accepted inti the ments with their powerful colour, painting school of the RCA. An the displays in the shop windows, extraordinary and very formative the extraordinary crowds within environment, led by Carel Weight with Peter Blake, Dick Smith and the city centres the multitude of Jim Dine. languages feed into the paintin- gs. City centres are incredibly Your art often reflects themes of enticing, the displays and the modern metropolitan existence. advertisements are huge catalysts This altered my life,I felt exhilarated. it was so What aspects of urban life do you and ever present in our daily lives find most inspiring or challenging? exciting to live in a place so How do you balance the intimate vibrant... The City became my subject and grand elements in your artwork, matter. Starting with machine Everything, the size, and what do you hope viewers take parts, then cars, the environment activity, noise, the shops away from this contrast? reflected in the car bodies and and factories, it was so vital and I want the excitement and awe I loved it. finally the buildings of the city. that I feel to be present in my Since Birmingham I have lived I attended St. Phillip’s a Catho- paintings in and visited cities worldwide lic school run by the Oratorians. The architecture and all of the I went from there to the White My first visit to New York City other elements that make up the Fathers seminary in the depths in the early seventies shocked and city strive for a certain perfection of Ireland. Here I spent a highly stunned me. It was exhilarating. through form material and colour organised and disciplined two I have made a pilgrimage every to win over the approbation of years studying philosophy and year since. us all preparing for the priesthood. The Exhibitions and commissions A way of life is being displa- Father Superior encouraged me and desire have taken me, amon- yed, one that is so rich and in my art, painting and creating. gst others, to Singapore, Hong desirable Through dyed sawdust, I created Kong, Shanghai, Central America huge heads of saints which were I immerse myself in it. I Love and many cities within Europe destroyed by the processions on it and it provides my inspiration The strangest experience being feast days. Las Vegas, pure theatre, no night I did however miss the world or day pure enticement. and left Ireland to join Birmin- I walk and walk looking gham Art School Strangely the listening and soaking up the change was not anywhere as atmosphere. extreme as I had anticipated, I always have a camera. The to be a priest or an artist both photographs provide a reminder demand complete dedication and and a visual support in the studio Reader’s House II 61