Skyline Design continues to produce sustainable architectural glass featuring Bryan's woodcuts. Proudly made in Chicago, Bryan's designs are still part of their mission to create beautiful spaces in an environmentally-conscious way. The progressive techniques they use in their Digital Glass Portfolio allow a woodcut to be printed or etched directly on to the glass, resulting in stunning, wall-sized pieces of architectural glass.
Barringwood, a hugely popular Australian wine, whose labels feature Bryan's woodcut "Black Oak", has recently been awarded 5 stars for the 4th consecutive year by Australian Wine Companion.
Sadly, Barringwood does not have a US distributor, so we are unable to enjoy these fine wines here in the States.
Bryan Nash Gill is featured in the Oct/Nov issue of the popular German science magazine Zeit Wissen.
In an article titled "Die Schönheit der Zeit" ("The Beauty of Time"), several of Bryan's woodcuts are on display, including his woodcut "Compression Wood", featured on the cover.
Award-winning author Smith Henderson's debut novel Fourth of July Creek features Bryan's woodcut "Red Ash" on the cover.
Fourth of July Creek has won several awards and has made the New York Times 100 Notable Books of 2014, and the Best Books of 2014 for the Washington Post and Entertainment Weekly.
NEEDTOBREATHE's new release Rivers in the Wasteland feature's Bryan's woodcut "Leader" on the cover.
Rivers In The Wasteland is the follow up to their acclaimed album The Reckoning, which saw the band spend over two years on the road in support of a collection of anthemic rock that caught the attention of The New York Times, NPR, Entertainment Weekly and USA Today.
A Bryan Nash Gill collaboration with Fourth is King - T-Shirts are now available at Forth is King's online store in some lovely colors.
Bryan Nash Gill passed away unexpectedly of natural causes on Friday, May 17, 2013.
He was the loving husband of Gina (Kiss) Gill for 12 years. Born in Hartford Hospital on Nov. 3, 1961,
Bryan grew up in Granby and Simsbury, attended Renbrook and then Westminster before earning degrees in Fine Art at Tulane and CCAC in San Francisco. A prolific artist, naturalist and gourmet, Bryan was first and foremost a friend, father and husband of profound generosity, humility and love. He was the kind of person parents want their children to become. A lover of life, endlessly curious, he could be single minded about his work but never at the expense of hospitality and laughter. Though based in New Hartford, Bryan's life was truly global with friends and professional networks across the world. Recently, his work as an artist had gained recognition in publications and exhibitions at an international level and critical success was at hand. He will be deeply missed by many, and lovingly remembered for years. To know Bryan was to know his family, the center of his world.
He is survived by his wife, Gina Kiss and son Forest Nash Gill; his mother, Elizabeth Nash Muench and step-father Thomas of Beaufort South Carolina and North Hero, Vermont; an older brother, Chas Gill, his wife Linda, and their children, Charlie and Caroline of Bowdoinham, Maine; in-laws, Larry Kiss and wife Ann of Westport, and sister-in-law, Denise Schatra and husband Kenneth of Newfane, Vermont. He also leaves step-brothers and sisters; Caren Ross and husband Gordon of New Hartford, Louise Pettit and husband Jim of Atlanta, Georgia; Larry Pratt and wife Reyna of McClean, Virginia; and Alison Forrest and husband Todd of Ridgefield. He was predeceased by his father Charles Fairchild Gill.
When I phoned Bryan Nash Gill last Thursday morning, he was on his way back from a boneyard. The New Hartford, Connecticut-based artist uses the term not in its traditional sense, but instead to describe a good spot for finding downed trees.
“I have a lot of boneyards in Connecticut,” says Gill. “Especially with these big storms that we have had recently. Right now, in the state, the power companies are cutting trees back eight feet from any power line. There is wood everywhere.”
Byran's "Woodcut" made The New York Times' Style magazine Best in Books 2012.
Bryan's "Woodcut" made the top of LA Times "18 Fantastic 2012 Book Covers".
Martha Stewart has produced a wonderful video of Bryan describing his work and his art.
The Responsible Company features Bryan's woodcut "Red Ash" on the cover.
In The Responsible Company, published by Patagonia, Yvon Chouinard, founder and owner of Patagonia, and Vincent Stanley, co-editor of its Footprint Chronicles, draw on their 40 years' experience at Patagonia – and knowledge of current efforts by other companies – to articulate the elements of responsible business for our time.
Mr. Gill, who is based in New Hartford, Conn., starts with pieces of dead or damaged wood salvaged from his area. He cuts through the wood until he finds an engaging section—perhaps where the tree divides or branches intersect.
Then he sands the block as smooth as possible (so that the paper won't crease when placed on the wood) and burns and brushes the block (to reduce the areas of soft wood between the growth rings, making them more distinct)...
“Woodcut,” published by Princeton Architectural Press (www.papress.com), features Mr. Gill’s large-scale relief prints made from cross-sections of trees. Woodcut includes 100 color illustrations, an introduction by writer Verlyn Klinkenborg, and an interview with the artist detailing his printmaking process.
Mr. Gill creates abstract sculptures, works on paper, and installations that are inextricably bound to the materials and inspiration he finds in nature, working and living in a rural New England setting. Massive sections of tree trunks are cut and carved; branches and leaves are re-interpreted in bronze; and the growth rings on cross-sections of trees are inked and transferred to hand-made paper.
The central tension in Bryan Nash Gill's work is generated from its relation to landscape, so often the province of painting. Gill's is a sculptor's take, however, literally and metaphorically. His work is clearly composed of nature-tree branches and bark, woodsy flora like fungi and cabbages, leaves and seed pods, as well as deer hides and even desiccated orange peels. Still, what is striking about a gathering of these forms in a gallery, translated as they are by sub-tractive carving, reconstruction, and recasting, is the way they insist on an aesthetic of first-hand experience.Read More
"Wheels in the fields" was the phrase that popped up in one of Bryan Nash Gill's graduate school critiques at the California College of Arts and Crafts. It was an image of old farm implements rusting amid the rising growth of a farmer's field that this Connecticut farm boy had carried in some forgotten back pocket as he peregrinated from New England to New Orleans (to study glass blowing), to Italy (to study stone carving), to California (where he sought to discover the difference between art and craft), and to various primitive cold-water studio/ aeries in Colorado deserts, California mountainsides, lower Manhattan, and the northern extremities of Maine (where he later set up shop).Read More
It’s a strangely moving experience to flip through “Woodcut” (Princeton Architectural Press, $30), a book of Bryan Nash Gill’s relief prints of tree-trunk cross sections, which the artist harvests from felled trees, cedar telephone poles and discarded fence posts in his native Connecticut.