Kreuser Gallery is proud to present …

Finite Resource: New Work by Brett Andrus

Opening Reception, Friday, October 6th,  5-8pm
Show will run October 6th-27th
Artist Discussion on Friday October 13th at 5:30pm
218 West Colorado Avenue Ste. 111 80903

 finite resouce card front 1024x696 Current Show

As an artist, writing about my work tends to be one of those chores that we (artists) have been taught means something important. Too often, the artist’s statement is used as an excuse and justification for the existence of a piece or body of work.  When it’s done well, it can shed light light on the artist’s influences and state of mind. When it’s done poorly, the artist’s statement will use big flowery words and abstract ideas to lead the viewer to a conclusion, a meaning, and inform them how to enjoy a piece. It tricks the viewer into the idea that what we do as artists is magic.  In reality, it’s just an intellectual construct (see, big flowery words).


This body of work is my tenth solo exhibition in six years.  My goals for the exhibition were pretty simple. I set out to create 13-14 new paintings in 36 days.  Challenging myself to work efficiently, I gave myself about three days to finish each piece.  As a frame of reference, for past shows, each piece could span weeks and even months in its creation.  During this most recent work period, I also set out to de-mystify the process.  I started most of the paintings live on Instagram.  I wanted to show how stupid and ugly the process of creation can be.  Making myself aware of time, I had to engage each piece with spontaneity and ingenuity.


In this body of work I also sought an access point into the enjoyment of painting again.  My previous body of work, “The Remainder,” which opened in August of 2017, was a heavily autobiographical exhibition which was incredibly hard to manifest.  It was quite simply emotionally exhausting.  I felt the need in executing this body of work to find the fun in painting again.


This show focuses on portraiture and cityscapes, people and places.  Why? Well, I love painting faces.  Trying to catch an expression and translate an emotional sensual connection to the viewer is an amazing experience. Cityscapes are new to me.  I have focused on the figure for 18 years, so attempting to capture a view in a city allowed me to experiment, get uncomfortable, and to engage in a subject that is new for me. Each day in the studio was a lesson, and for me, that is a major reason why I do this. I want to make paintings that engage the viewer, to challenge them, to transport them, to create a space for them to dump their baggage.  And in all honesty, I paint because I can’t stop.