Page 11 - WOWwART

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