'TIL DEATH, WE DO ART

How many of us are moved by fear?

Pain.
Loss.
Judgement.


The list of terrors is never quickly dismissed, even more so when it comes to artistry. Unveiling our deepest vulnerabilities through expression can be scarier than death. And if we do overcome and find our way to present ourselves publicly, how often is the catalytic device an overplayed hand of arrogance and ill- spirited confidence? Brandon Alexis Tellez Gonzalez possesses a rarity - authentic bravery. A fearlessness developed through faith. For an artist as technically skilled as Brandon, realism would be an easy and equally dull route. Solely focusing his artistic effort on figurative work might allow for societal acceptace - validation amongst the tastemakers of the art world. But Brandon is a man obsessed with developing a unique world for his viewers to enter, often proffesing, "I want to give them something different." Divergence has a profound cost. In Brandon's admiration of Vincent Van Gogh, he speaks briefly on Van Gogh's pursuit of artistic perfection. Despite the lack of flowers at his feet, regardless of the posthumuos recognition, van Gogh never turned his back on his vison. Brandon makes a similiar vow; to never allow outsiders to interfere with his creative process, to do whatever it takes. He upholds his promise even when faced with financial ruin. He states prophetically, I knew i was going to put myself in debt with this show." Yet, he sat before me, undeniably determined and optimistuc. Even when overworking himself destroyed the tendons in his dominant hand, Brandon forced himself to become ambidextrous and delivered his most remarkable work thus far. 'Til Death, We Do Art"  poignantly delivers Brandon's perseverant attitude while simultaneously hinting at the dichotomy of light and dark in his work. Years in the making, the exhibition envelops various emotional states the pieces, yet all remain tethered through his distinctly earthy yet sonorous palette. His first piece as a resident of New York City, Highest In The Room, displays a turbulent time of reckless partying and intense love in the form of a distorted superstar, Travis Scott. As one of Black Wal Street Gallery's first visible pieces from the street, it introduces Brandon's "evolving" style - a rich mix of figuarive abstraction that invites viewers into the unique world Tellez is intent of creating. As his audience treks deeper into the gallery, they tread deeper into Brandon's psyche. His sources of inspiration are expansive and permeate hsi work. Through proudly Mexican, Tellez 'pays respect' to all cultures that have influnced his expressons. Hip-Hop plays a massive part in Brandon's story and spreads its heroes across five pieces. Brandon's spirituality also fircely shows itself in his creation. Tellez architects a shrine to the late god fearing poet DMX in Black Wall Street's viewing toom. A seven foot cross displaying Earl Simmons (Everybody Dies) towers over a mound of burial soil surrounded by candles. Brandon chooses to honor DMS's birth name to pay respect directly to the man behind the rap star - equalizing his worldly fame through God's eyes. Kowing all will be washed away in death allows Brandon a foreboding freedom. Finality's encroachment gives away for a magnificent impermanent life and thus artwork of the same caliber. Heartbreak manifests the relationship so severely even Dr. Wright, Black Wall Street's owner, had a visceral reaction. Brandon's time as a Black Wall Street Resident Artist allowed gallery visitors to peer into his process. With Heartbreak, he started with stunning realism detailing the face of Frida Khalo, another tremendous inspiration. After perfecting it, Brandon smeared the face with layer upon layer of dark, textured oil paint. Visitors turned into witnesses, and witnesses turned into disciples as Brandon resurrected the piece - knowing all the while exactly where he planned to end. "A Beautful Tragedy". This theme appears recurringly in his work. Whether its Tupac peering deeply into your eyes as he is crucified in 'Screaming Thug Till I Die' or the broken sancity of Virgen De Guadalupe leaking blood into the landscape of Que Dios Nos Perdone. Despite the rampant religious skepticism, Brandon dedicated his most valuable piece, Lord Wrap Your Arms Around Me, to his relationship with God, displaying, in his most distinct way, that he will always paint like he has nothing to lose.

Fearlessly, faithfully and "always evolving".