Feb 16

Summer Building


Summer Building, acrylic, 36″ x 48″

This work one in a new series of abstract compositions with a landscape reference. What is important here–as it should be in all visual art–is an interesting visual presentation: eye-catching shapes choreographed in presentation. Except for my signature, the paint was applied with #16 and #20 flat nylon brushs, which enable a loose and varied degree of effects,”brushwork.” 

Jan 16

Restored Morgan

The fellow behind the wheel of this racing Morgan is restoring the car. My sketch reveals a telling view of this British auto, emphasizing the rolling, “sculpted” body design and handsome grill-work. For the pastel painting (shown here nearing completion) I raised my view so the car and its setting, a tree-lined country road, combine to create a dramatic experience.


Dec 14

Sparkling personas

I’m painting two sisters, very polite and quiet girls. Around this stranger who studies them for details–in order to capture their likenesses and spirit–there watchful return gaze is understandable. My job leads me to note the sparkle of their eyes and features, portals to good natures and intelligence.

Jul 14

Holding on for dear life

Rodeo is a competitive mismatch of size and explosive power among animals. Notice how the backward, arched contours of the bull rider’s pelvis, legs, and spine describe action, set in motion by the force of the bull’s forward charge. The painting’s power is in the effectiveness of the “kinetic chain’s” description, that energ- transfer from the explosive thrust of the animal’s hind legs through its body to the rider’s, here arrested for our safe appreciation.

Mar 14

Invitation to Redlands

Discussion at the Bowl

I’m pleased to invite you to an exhibition of my artwork of the City of Redlands, sponsored by A.K. Smiley Library. I visited Redlands for the first time a quarter-century ago and it continues to inspire me, personally and professionally. There will be three dozen original drawings and paintings on display, with dozens more to examine in a digital slide show at the exhibit. My entire inventory of Redlands art can be examined online at:


The show runs April 13-20 in the Library’s Assembly Room. A reception will be held Sunday, April 13, 4-6 pm. I hope to see you there. A.K. Smiley Public Library,125 W. Vine St., Redlands, CA. 909-798-7565. 

Morning Walk Near Highland

Jul 13

Invitation to bend

On the outskirts of Redlands, CA

Road Bends, pastel, 12″x16″ 

I painted several times along this stretch of road on the outskirts of Redlands, CA. Once a ‘sea’ of citrus trees quenched the eye in all directions, but by the 1990s orchards were disappearing, replaced by stark and dusty places and nostalgia for what’s gone missing.

Jun 13

Finesse the big brush

Lake District

Lake District is a 30 x 40 canvas painted entirely with a #20 & #16 Flat, artist’s nylon brush; only my signature was applied with a small #6 Bright. This close-up detail of the acrylic work illustrates what expressive flexibility and communication opportunities a large brush provides the artist. Yes, like all skills that we wish to master, much practice is required. However, perseverance pays dividends in the end.

Years of trial and error have rewarded me with the pleasures of accuracy and finesse. Good results begin with knowing artist’s materials and methods well. Good technique, necessary eye-hand coordination sharpens the creative mind to employ options, the moment-to-moment discovery of the inner spirit. The pleasure of waving-off a sharp, precise line or edge for a jagged one, knowing the latter will express and evoke more–well, this developed ‘touch’ is a freedom of an amazing sort. In words it’s akin to flight and love; at least in my mind it feels that way. Words don’t do this ‘creative freedom’ justice. I can tell you I often feel quietly giddy inside as I work. In that state of mind, watching the marks I put down, there is bliss. And after I put down my brush and scan the mysterious lands I’ve created, beyond the simmering satisfaction of the image created, I feel humbled by how untraceable so much of what I do is to me.

Lake District

Lake District, acrylic, 30″ x 40″

Jun 13

Oblique references

Rhodes abstract painting

Rhodes,  acrylic,  36″ x 36″

In this composition of abstracted form some of you will recognize what appears to be references from common experiences, like a winding mountain road, a rocky cliff, maybe trees, an open field, a sunset sky. Others viewing the painting will find different worlds within the assembled shapes and colors. Whatever associations we make bring this composition into personal focus. Ambiguous subjects invite this freedom to participate. The best art relies on allowing viewers some space to find themselves.

Nov 11

Life up close

ChelseaChelsea, acrylic on canvas

I love looking up close at sections of paintings and drawings, mine and other artists.’ It is there that the magic of plan and chance converge. In these two close-ups of portraits I created my brushwork expresses evocative things about, above and beyond my subject matter. 

Dr. Dymond, acrylic on canvas
To view more of Brad’s work visit Brad Faegre Fine Art

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Nov 11

Old Tracks That Go Nowhere Now

Old Tracks That Go Nowhere Now was inspired by a rusting spur that ran along a eucalyptus windbreak on the southern edge of Pomona College, Claremont, CA. In the mid-1970’s I was a student at the Claremont Colleges and the Pomona College Art Department was a short block away from these tracks. A dozen years later I revisited this location and painted. Weeks after, with the small, on-site study as my guide and college reflections as further compulsion, I created this larger and more expressive scene. I placed two crows beating the hazy, clay-colored afternoon sky, their dark contours a reminder that life is made up of millions of such beating, mortal moments.

A few years after Old Tracks That Go Nowhere Now was painted the old spur was torn out and the location cleaned up, probably in preparation for the new Metrolink commuter train service introduced to Southern California about that time. Alas, ‘All things doomed to die touch the heart.’ The Los Angeles Area Chamber of Commerce commissioned me to paint a scene of that new Metrolink commuter service and Morning Commuters (below) is the study for that work.

What is it about the sight of train tracks that cause the heart and mind to race? Maybe it’s that uniquely human reflex to search for change on the horizon.

Morning Commuters, 18 x 24 acrylic on canvas

To view more artwork visit Brad Faegre Fine Art