SHAY BREDIMUS b. Omaha, Nebraska EDUCATION Laguna College of Art and Design, MFA Painting, Laguna Beach, CA Emily Carr University, BFA Painting, Vancouver BC Academy of Art, San Francisco, San Francisco, CA Mesa Community College, Associate of Arts Degree, Mesa AZ SELECTED RECENT EXHIBITIONS 2011 2010 2009 2008 2004
Small Works Show, Prographica, Seattle, WA Face to Face, William D. Cannon Gallery, Carlsbad, CA Indelible Marks (Solo Exhibition), Koplin Del Rio Gallery, Culver City, CA West Coast Drawing , Drawings VIII by Koplin Del Rio Gallery, curated by Norman Lundin, Davidson Gallery, Seattle, WA Shay Bredimus: The Rhetorical Body, San Luis Obispo Art Center, San Luis Obispo, CA LA Art Fair, Los Angeles Convention Center, Los Angeles, CA Not Without Form: Recent Drawings and works on Paper, Donna Beach Fine Art Gal- lery, University of Nevada Las Vegas, Las Vegas, NV Contemporary Realist Painting and Drawing: 16 Graduates/ 19 Mentors, Koplin Del Rio Gallery, Culver City LCAD MFA Group Show, curated by Peter Frank, Arena 1 Gallery, Santa Monica, CA MFA Solo Exhibition, 1-5 Gallery, Los Angeles BFA Solo Exhibition, KD6 Gallery, Vancouver BC.
STATEMENT A figurative painter, Bredimus employs languid and gestural marks using tattoo ink on drafting film to portray spontaneous and personal moments of his models. His classical training in portraiture is evident, to which he has added aesthetic influences from Japanese tattoo, and Ukiyo-e prints. Shay’s intention is to convey the fleeting effects of light and shadow as it moves across the figures in his portraits. This effect is established with the combination of quick and deliberate marks, along with letting the ink drip and fall randomly. In this practice Shay does not control the medium rather the medium directs him. His large drawings display aggressive application to enhance the spontaneous aspects of the drawing process. This quality is important to display Bredimus’ distinct perspective as an artist, and individual fingerprint as a human being. Shay has chosen to work on Duralar drafting film for its effortless movement and translucency, and because it allows for the use of layers of pigment to create depth of field in the picture plane with out the aid of horizon lines or backgrounds. The translucent drafting film also allows him to use both sides of the surface to add additional atmospheric elements.