Brady Haston
Understanding Composition and Texture

Session Two - June 19-25, 2016


Course Description
Participants in this class will learn to analyze past masters’ paintings and uncover the structural components that create successful compositions. Participants will then incorporate both simulated and actual texture to these compositional studies to create new work.Collage and painting techniques will be introduced that enable the student to build upon previous skills and concepts of painting. Participants will also learn the pros and cons of utilizing different types of supports for painting. Class discussion, slide lectures, and group critiques will further complement and enhance the making process.

Artist's Statement
During the past few years living in Nashville my paintings have focused on both superficial and casual observation. Superficially, obscure landmarks and other urban reference points informed my work and provided the abstract structure for the paintings. These ideas soon exhausted themselves and I began a casual search for images and ideas by pulling local image searches from online and basing work on brief impressions of the Dickerson Pike area. As this work progressed, I had the good fortune to come across Paul Clements’, “Chronicles of the Cumberland”. His book is a collection of letters and first hand accounts of the people who lived in the Nashville area prior to settlement and during the tumultuous early years of a fledgling state. As I read through the stories from the late eighteenth and early nineteenth centuries, a deeper understanding of Nashville allowed my work to incorporate older memories and specific histories.

This wider narrative allowed my work to begin to include references to the figure once again and explore content in a new way. There is a definite conceit when a contemporary abstract painting refers to the past. At best the work will engage the audience through an elaborate metaphor and create a conversation that increases the knowledge of this specific area while helping orient the viewer in a local, on going time line.

Painting is an engaging activity that allows for the exploration of my surrounding urban environment while interacting with a local narrative that combines both past and present history. The resulting work attempts to continue this dialogue and communicate a shared story with a future audience through shape and color. My work with the urban environment has been in development for well over a decade and continues to grow as I dig deeper and discover more about the local history of Nashville and the surrounding area.

Artist's Biography
Brady Haston is a native of Spencer, Tennessee and currently teaches printmaking at Watkins College of Art and Design. Brady earned a B.F.A from Middle Tennessee State University in 1992 and during 1991 he also attended the University of Georgia’s Studies Abroad Program in Cortona, Italy. After his undergraduate studies he then attended Montana State University (Bozeman) and was awarded a M.F.A in 1997. Following graduate school, Brady spent the next eight years in Chicago teaching at Columbia College before moving back to Nashville. His shows of note include Paintings and Sketchbooks at the Cheekwood Museum of Art, the Los Angeles Printmaking Society National Exhibition in 2003, The Portrait, An Investigation of the Self at Camberwell College of Art in London, England in 2003, Bacchanal at the Appalachian Center for Crafts in 2004, Art Chicago in 2006, Intersection at the Contemporary Artist Workshop in Chicago during 2006, Abstract Painting in Tennessee at the Cheekwood Museum of Art in Nashville in the summer of 2008, and Superstruct at PLUG Projects in Kansas City in 2012. Brady is represented by Zeitgeist Gallery of Nashville.

Supply List
  • Variety of adhesives
  • Collage source material (magazine images, old photos, textured material, etc.)
  • Acrylic paint
  • Modeling paste
  • Paint additives (sand, sawdust, glitter, etc.)
  • Variety of painting supports 16”x 20” size range (plywood, Masonite, heavy water color paper, canvas stretcher, prepared panel, etc.)
  • Variety of brushes
  • Variety of drawing tools
  • 16”x20” pad of tracing paper
  • 10 high quality printed copies of past master paintings (Rembrandt, Goya, Van Gogh, Velazquez, Cezanne, Manet, etc.)

The Shakerag Store, which is open daily throughout Shakerag, stocks most of these supplies in addition to numerous other items, including books, tools, t-shirts, and aprons.







Brady Haston

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