Barry Sean Little

I grew up in Pittsburgh, Pennsylvania, where I first focused on my fine arts training while in high school, at Carnegie Mellon University, studying under Prof. Herbert Olds. His dedication and exploration of line got me on the right track toward seeing and understanding the selections undertaken when creating effective mark making. Watching him make these selections firsthand and “effortlessly” lay them down was an invaluable and impressive experience for me.
Earning a bachelor’s degree in painting at Syracuse University in Syracuse, New York, I had the privilege of studying under    Jerome Witkin. Attending his anatomy classes allowed me access to the city teaching hospital and its anatomical inventory…“Death Studies” if you will. Those anatomical meditations years ago help me maintain my appreciation for the sophistication and beauty of human anatomy to this day.
Professor Witkin also furthered my education of specific mark making through the examination of many of the masters’ selections…leaving me enamored by the likes of Tiepolo and Tintoretto (just to name a few of the “T”s).
Futurists were always an influence of mine. Their audacity, intensity, unconventionality, and talent are captivating to me. They shook things up, made quite a mark, and had something to say.
Religious iconography has also always intrigued me. It’s balance, symmetry, and allegories are things that have made major impressions on my style.

My current work is concerned with commonly held belief systems, their hierarchical nature, and their contextual validity. These topics are explored through a teleological blend of science, religion, mythology, pop culture, folklore and personal genealogy. These belief systems fall under one umbrella of importance and their former status is vanquished. Mediocrity is transformed into the sublime and each life experience contains the potential for epiphany. A dialogue between the viewer and each piece is of paramount importance. The language and wordplay of this dialogue is equally critical.
The black and white pen and ink drawings focus on balance, precision of mark making, flow, connective layering, and well- ordered stream-of-consciousness. I lovingly refer to the technique as penance in ink.

In my work, denseness of information can reveal simplicity of form.

Sometimes there is nothing quieter than white noise.


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