Briar Emond – Briar Emond’s daily endeavor is expanding her knowledge and skills in the realm of visual arts. Her work is intended to highlight the things we cannot see but can feel; be it the wind, gravity or the seemingly magical code to the chaos: math.
Briar Emond is a Canadian artist. Informally trained, her work is unencumbered, allowing for a unique expression of her feeling towards nature and its underlying mathematical sequences. Anthropomorphic leaves, trees and blossoms are used to convey ideas, energy and emotion. Colour, texture, and perspective focus her themes and present a dynamic space for pausing and pondering.
Briar is interested in representing the resonating, repetitive patterns that are the foundations of our physical universe. Through different pouring techniques and minimal brush work, she allows the paint to mimic naturally occurring formations. Embedding nature’s math in her compositions to engage the observer on an innate and subconscious level. Her work highlights our interconnection with the world around us, encouraging a closer look.
Briar was born and raised in Mississauga, Ontario and currently resides in Burlington. After earning a Bachelor of Commerce degree from Guelph University, she explored careers in finance as well as film and television production. She discovered her love of painting while finger painting with her children one day. That quickly led to a daily endeavor of expanding her knowledge and skills in the realm of visual arts.
Briar loves painting; the tactile feeling of applying paint to a canvas, the emotional feeling of creating something. Her work is intended to highlight the things we cannot see but can feel; be it the wind, gravity or the seemingly magical code to the chaos: math. Whether we understand the math or just feel its simplistic power, it is there, guiding our universe all the way from the microbial level to the big picture of space. The recurring shapes and formations that can be seen at all levels fascinate and excite her.
“Math was always presented to me as a cold tool to calculate our middle world. It wasn’t until I first encountered the Mandelbrot set in the 1990s that I saw math in an organic shape. It was at that point that I started to see my world differently. Not separated by lines of discipline but a homogeneous network of repeated steps that produce the world we live in. I get a kick in seeing the mathematical framework in nature and manmade structures and try to represent it by employing naturally occurring mathematical sequencing in my paintings. The Fibonacci Sequence 0,0,1,2,3,5,8,13,21,34 … for example is the ingrained map that plants grow by. I use these sequences to form the structure of my paintings. They guide my brush strokes. And like the math found in nature, it is not always obvious or seen but is imbedded and felt on an emotional level. Like all things, pleasure is deepened by knowledge and understanding. A tree is not just beautiful; it is a Mathematical conclusion of billions of years of evolution.”