PAINTINGS

For over two decades, Brett Amory’s paintings have circled a persistent question: what happens when you look closely at the things you’ve trained yourself to ignore. The Waiting Series, begun in 2010, distilled that orientation into a single sustained question — who are the people we pass without seeing? Anonymous figures in buses, subways, and public spaces; suspended between states; visible but unregistered.

Later series pushed outward into algorithmic systems, constructed languages, and the instability of AI-generated form. The medium shifted — ink on wood, screen print, oil on canvas — but the fundamental orientation held: toward stillness, toward the background figure, toward the moment before recognition.