A conversation with Brian Buzzella

by Eddie Arroyo

The garage has been converted to function as a studio and seems to be a clock work of painting materials among other objects. There are large paintings laid against the walls of this home. I walk around for a bit to look at the work. Over the past three years Brian Buzzella has been confined to his space, painting on canvas, wood panels, crates and just about anything else that he finds appropriate. We sit down and talk.

EA
Tell me about the work.

BB
Well I never grew up around art. Never knew any artist growing up. I was at a museum in Tampa in 04’ and saw my first Basquiat painting. That was the first time in my life where everything came together; not expression wise but interaction wise. Interacting with people, while I was making sense of my own thoughts and the connections between color, the formation of paint, charcoal, and pastels/oil, had always been an overload type of interaction. I didn’t understand the correlation completely but I did acknowledge that it would never leave me. I’ve come to understand that this is a timely process to say the least. The important thing for me right now is to not worry about the outside critique. I know I have a life’s work in the making, whether it goes anywhere or not isn’t important.

I feel the estranged connection between the corporate world and ones journey to understand themselves, through whichever artistic medium, is exhausting and at the same time very fulfilling. To me, my paintings show an internal struggle that brings together previous experiences, that weren’t necessarily overcome, with the present moments of everyday life. Some work is based solely on the day itself, a conversation or someone I met five years and the suspected reasons why and how all situations have come to be. I try to understand that which has been overlooked. I tend to paint over entire pieces then layer over with different mediums that represent situations relating to the original approach. I need to know that certain layers will never be seen again. It’s like a book on canvas and you’re only seeing the last page.

EA
I mentioned Basquiat. Is there any other artist that you find of interest?

BB
I like Joan Mitchell, Franz Kline, Rauschenberg and Motherwell to name a few. I’m finally getting to the point where my internal references are being used more than the external references I like to call benign. These artists have reinforced this for me. They’ve gone about their work with an understanding that not all influence and interaction between ourselves and the outside world is strictly a result of the present moment.

EA
These days you’re very focused on your work but are there any other mediums that interest you outside of traditional art?

BB
Short films, documentaries, music. The more extreme the subject matter, the better. Finally now there is consistency in the work. Placing certain words next to certain colors; that process alone has been consistent within the last year. It’s beginning to feel more like a collection of work. If every painting up until now was shown together as a series, it would be the furthest thing from feeling cohesive. I feel the channeling of color and composition is falling into place and am understanding my approach more and more. It’s a process; a long undying, raw, unedited thing.

Brian Buzzella’s work can be found at the Gab Studio.