Hardcover book housed in a full-color protective sleeve.
Buy Now






For the past twenty years I have worked on a body of work titled Waiting. The waiting series consists of more than 400 paintings and installations. Drawing attention to everyday life, the series portrays scenes of isolated figures caught in routine, passive activities directed by existing circumstances: waiting in line for a bus, waiting to cross the street, riding the train, sitting in traffic, eating dinner, —such feelings of confinement and the act of doing the same thing every day. Alienation, working class consciousness and the fear of the possibility of nonexistence are familiar themes that prompt the viewer to further examine scenes that are seemingly mundane. As the title suggests, the Waiting series visually represents the concept of disconnection and anticipation, conveying the idea of transient temporality that exists in most moments of our daily lives.


Self in Place


My daily painting series titled Self In Place, made during COVID-19 thematize the domestic act of inhabiting space and confinement to a particular place. The series explores the relationship between the home and the self and routine task accomplished almost without notice: teeth brushing, coffee being made, oatmeal boiled, making the bed, eating lunch—such feelings of confinement and the act of doing the same thing every day. Using the most mundane matter to create artworks the overlooked is fundamentally altered. Even when outer horizons shift, space remains the same. The inside world continues to be as richly detailed as when we had free movement outside. Removing ordinary vision from everyday life reflects on a poetic experience located within daily routine where the malaise of the mundane is transformed into alien, hyper-real qualities.‍


Sex Magic Suicide



Making Simple Sublime


Making Simple Sublime is an uncanny exploration of an artist studio/domestic space that blurs the boundary between art and life. Thoroughly self-referential, the doubling of rooms thematize the domestic act of inhabiting space and confinement to a particular place. The copied rooms confirm what is already present and what is present gets repeated, adding new and unexpected layers of meaning. The phenomena of imitation evoke the familiarity of self-evident routines, the banality of everyday life and compels a reassessment of perceptual boundaries. The constant dialogue between expectation and observation is illustrated in the middle section where the viewer finds oneself in a room with fragmented mirrors. Here the disjointed walls break up the reflective space creating a disembodied experience mirroring both the viewer and their surroundings where the viewer perceive themselves perceiving. Within the disjointed perception the viewer shifts from being a passive observer to an active participant and finds himself/herself as an added component of the work. This sort of phenomenological framework has the ability to bring awareness to the senses, modes of observation, and the connection between memory and place. Photo and Video Credit: Shaun Roberts


American Monologue


American Monologue investigates and challenges the notion of the American Dream, the idea of resiliency, and the concepts of civic failure and success. Many of us will remember how the American Dream and 1950s post- war optimism were characterized by television shows such as Father Knows Best and Leave it to Beaver, both epitomizing the superficial nature of what we tell ourselves embodies the American Dream. The juxtaposition of the installation combined with use of symbolism, serves to ignite conversation about memories, community, and separation. This installation exposes how past cultural decisions have shaped the present and how present decisions will influence the future of our communities.Under the facade of the success and beauty of what was portrayed in the 1950’s, racism, sexism and homophobia were prominent beliefs. This installation serves as a contemplation about America’s struggles and victories. Sculptural use of colorful flowers growing beside a “For Sale By Owner” sign shines light on the determination to rise above negative circumstances and surmount improbable circumstances (be they natural disasters or man-made catastrophes). Will the people exposing reactionary ideals, that want to turn back the hands of time and return us to a society of a black and white bygone era make America great again? Will the unification and galvanization of progressives brought about as the result of the election steer us toward a society full of color? What is the American Dream? What does the American Dream look like today? Is there such a thing as the American Dream anymore? It is not my aim to necessarily answer these questions, but to introduce the conversation.


Brett Amory (b. 1975) is an Oakland-based artist whose work is rooted in ordinary perceptual experience. He uses painting and installation to explore small observations that register as fleeting moments. Amory’s work explores peripheral zones of perception, social realities, the passage of time, and the unexceptional phenomena of daily existence.

His work has been exhibited both nationally and internationally, including the National Portrait Gallery, London; the Scottish National Portrait Gallery, Edinburgh; Fort Wayne Museum of Art, Indiana; and the Contemporary Jewish Museum, San Francisco. He was an artist in residence at San Francisco’s de Young Museum in 2017.

Brett Amory earned a MFA from Stanford University and a BFA from the Academy of Arts University. He lives and works in Oakland California.