Today we’d like to introduce you to Brandon Honjio.
Thanks for sharing your story with us Brandon. So, let’s start at the beginning and we can move on from there.
I recall my first critique in CC. There was no “correct” way to approach the prompt. The problem at hand. It was purely originality in the form of your subconscious coming conscious as one pulls their history and their world around them into the material they were working with. Intentionality with every brushstroke and all being seen in silent. It was standard catch all phrases you started to hear piece after piece. It was an intro course so I didn’t exactly expect much or anything at all for that matter. But I remember the feeling of self-critique. Viewing your own work being seen. Noticing the flaws, parts overlooked and just thinking to the self what could have been done better. I enjoyed the pursuit of creating. Creating and trying to externalize how I envisioned this idea of art. It is certainly an interesting ladder to climb. Following that idea, watching it morph and ungulate and twist into what I view today is the climb. I can’t say that I recall ever following a different one.
Has it been a smooth road?
Painting in itself is a very difficult road to walk on. Especially that of the abstract nature. I think Adrian Piper compared the abstract to flying. Up in the air, you don’t concern yourself exactly with the problems of the ground but instead encounter new ones. The struggle I find is making that material relatable in any means to the viewer as well as the work. What do you want to express and what exactly do you want to say. It is easy to lose your self in the clouds and become disoriented and forget where the ground even is. Now when a lot or the majority of the art you see is online in a 5 inch screen, people are forced to take it at face value. For many, myself included, it is hard to understand the idiosyncrasies of each piece and what perhaps separates an amazing work of art from a canvas with a few gestural marks.
Please tell us more about your art.
As an undergraduate, I started building my own canvases to fully appreciate the process. It also was a lot cheaper. I soon began to experiment with different shapes to understand what constitutes a traditional painting. Shaped canvases as a recursive discourse has been an underlying subject of research when it comes to my work. I have gradually but surely grown a firm love for the materials I use to make the pieces as well as each step of the process. Actively pursuing and stretching the perception of a painting, I have tried to understand spatial problems and expressing human interaction. Painting on my canvases and panels with strong thick strokes has been for me a finale of sorts. I usually conclude with this gesture as the last act of the performance. It’s nerve-racking and you really only get one chance to perform in a 10-second window.
Let’s touch on your thoughts about our city – what do you like the most and least?
Los Angeles is an epicenter for artists, creators and dreamers. It is a large dense city and everyone has a story to tell. I was born and raised here. I love the food, the people, sometimes the weather. It’s hard not to get caught up in the conventions of LA but easy enough to move past that for the good things. Parking can be an issue as is the traffic, but on a deeper level, poverty and the chase of material goods perpetuating the cycle pushes to my forefront. And perhaps this might be the internet, but the idea of instant gratification instilling itself in people. That if you pay the right price or if it’s just a swipe away, you could get what you wanted.
- Address: 12232 La Maida Street
Valley Village, CA 91607
- Website: brandonhonjio.com
- Email: email@example.com
- Instagram: @brandonhonjio