There is one constant in Brady’s work: the figure. “Interpreting people has always been something that I’m fascinated with,” observes Brady of his interest in the figure. People surround us every day and consequently affect our moods. To understand the figure is to then understand what it is to be. Looking at the figure is a way for Brady to explore the human psyche. By including found objects in his pieces, Brady places the figure into an environment, enabling him to portray humans as we relate to our world.

Brady combines the sterile environment from the computer with the dirt and grit of objects found in alleyways, truly capturing the paradox of modern life. He feels that on one hand, we live and work in an age of technology where everything must be cleaner, faster, and cooler. On the other hand, the world still faces the same problems: hunger, war, and poverty. It’s a world where on New Year’s Eve Americans celebrate the dawning of a new millennium howling in front of a Gap ad and chugging Bud Light while Bosnian refugees sleep quietly wondering where they will find food the next day.

His latest work, to be featured at the Global Culture Center’s (GCC) 5th Annual International Group Show in Osaka, Japan this summer, embodies that duality. This year’s juried exhibit, “Human Evolution” shows “man at the millennium. Where we come from. Where we’re going. Man stands at the shore of his future and what does he see?” Brady has decided to portray this year’s theme, naturally with the figure. He is layering, literally tattooing, classical and primitive figures with symbols and images from modern society. “Its like taking a Greek statue and tattooing it with email,” says Brady of his current project. “We still think of ourselves as Greek gods, but we’re completely a slave to our society now. We have to have a phone. We have to have a car... We have to have all this stuff. We can’t even be simple anymore.”

At this point, his cell phone rings.

This is one of the reasons Brady has accepted a residency in the late summer at an artists’ refuge in Montana. Secluded in “God’s country” for five weeks without the interruption of phones, faxes and other so-thought necessities, Brady anxiously looks forward to focusing solely on the creative process.

Brady combines the sterile environment from the computer with the dirt and grit of objects found in alleyways, truly capturing the paradox of modern life. Brady craves that type of solitude. It is one of the reasons why he turned to art in the first place. One of seven children, Brady never had much time to himself. Although he enjoyed growing up in a big family, privacy was a rarity. Art became a way for Brady to be alone and turn inward. It is one aspect of life that he can control completely. But Brady, like his work, is a paradox. Even though he enjoys the solitary lifestyle of an artist, he also cherishes the way art connects him to others.

Everything he is involved with, including the GCC, which operates on the belief that art should be the fundamental root for mankind, incorporates the universality of art. Art can bridge gaps and transcend differences. It allows people to co-exist; to be. Even Brady’s work with children and his website involve exposing others to the creative process. They are ways for Brady to help make art and the artist’s lifestyle available to others.

Art and life are mimetic reflections of one another. Not only do they exist together, they evolve together, challenging each other and constantly striving to better the other. Brady battles with that challenge every night when he enters his studio. He must find different ways for his art to translate the life around him.

For David Brady, art truly is a form of being.

Taura Mizrahi is a graduate of USC’s Master of Professional Writing Program. She recently authored Shelby Marlo’s New Art of Dog Training: Balancing of Love and Affection. Published by Contemp. /NTC.

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