Cover of Santa Monica Sun 

 

 

In DCA Fine Art’s Biedul & Gehry: Raw Space, the human body presents itself as capable of playing two roles for two different artists. For Brian Biedul, the body is a form within space; insides and outsides are explored in distinct compositions that, if anything, remind just how restrictive a canvas can be. The austerity and hard right angles of white backgrounds contrast strikingly with the contorted forms of highly rendered nude figures, which push unsuccessfully towards the space beyond.

 

“In order for me to define the limitations of the space, I have placed a figure in that space and that is the only reason for it. I could have used anything, but I chose the human body because it is universally understood. There are no disagreements as to where the body starts and stops,” explains Biedul.  

 

For Gehry, the body encompasses boundaries of a less spatial nature. In Untitled, simple line work details the painting’s human figures overlaid on colorful rectangular abstractions.

 

In short, while Biedul gives the limitations of his canvas center stage, Gehry instead lets his brushstrokes speak. What results then is a space that, while remaining every bit raw, holds more to it than meets the eye.
 

 Cover of Santa Monica Sun 

 

 

In DCA Fine Art’s Biedul & Gehry: Raw Space, the human body presents itself as capable of playing two roles for two different artists. For Brian Biedul, the body is a form within space; insides and outsides are explored in distinct compositions that, if anything, remind just how restrictive a canvas can be. The austerity and hard right angles of white backgrounds contrast strikingly with the contorted forms of highly rendered nude figures, which push unsuccessfully towards the space beyond.

 

“In order for me to define the limitations of the space, I have placed a figure in that space and that is the only reason for it. I could have used anything, but I chose the human body because it is universally understood. There are no disagreements as to where the body starts and stops,” explains Biedul.  

 

For Gehry, the body encompasses boundaries of a less spatial nature. In Untitled, simple line work details the painting’s human figures overlaid on colorful rectangular abstractions.

 

In short, while Biedul gives the limitations of his canvas center stage, Gehry instead lets his brushstrokes speak. What results then is a space that, while remaining every bit raw, holds more to it than meets the eye.