Bre is a Signature Member of The Pastel Society of America, A Circle of Excellence Member of the International Association of Pastel Societies, founding board member of the Piedmont Pastel Society, and Southeastern Pastel Society “Member of Excellence”.
Recently her work has been exhibited at The National Arts Club in NYC, The Salmagundi Club in NYC, The Butler Institute of American Art, The Hickory Museum of American Art, and Vose Galleries in Boston.
Her landscape, figurative, and abstract works have been awarded in many national juried shows, and appeared in American Art Collector, Pastel Journal, and Charlotte Magazine.
Corporate Collections include The Cannon Foundation,The Voci Center, Signature Health , and Duke University.
A native North Carolinian, she attended the University of North Carolina at Chapel Hill, where she earned a Bachelor of Arts Degree in Studio Art and studied Art History.0
Bre creates expressionistic abstracts, landscapes and figures in multiple mediums. Her current work explores pure pigments and textural elements inspired by nature and organic forms. Recent publications include Northlight’s Abstract Painting, a Celebration of Contemporary Art and The Pastel Journal’s The Year’s Best Paintings.
The Power of Raw Pigment has always fascinated me. It is the driving force of my creative process. Using pure, undiluted pigment is the most direct delivery I can make from brain to canvas. These intuitive gestures, full of pure color, along with rich mark making generate powerful starts. It is immediately gratifying.
Intensive study of the pastel medium has provided me with a solid foundation to evolve as a modern artist, and to experiment combining multiple mediums in unique ways. Beneath it all, my work explores the lexicon of abstract mark making, the love of pure color, and the intuitive nature of the creative process.
My current paintings are non-objective in nature. I create custom grounds on paper, canvas and boards. I use these to support underpaintings involving pure pastel and charcoal. A layering process continues with fixatives, acrylics, glazes, more mark making and some surprise elements. A painting is declared “finished” right before it reaches the brink of disaster.