If you havenât yet heard of artist Brian Batt, youâll be getting a glimpse soon, especially if you tune into Gossip Girl. We know that not everyoneâs smitten for Upper East Side scheming, but this impressive painter makes a cameo in tonightâs episode, âPortrait of a Lady Alexander.â Indeed, the 33-year-old acting neophyte even delivers some lines, in the presence of Chuck and Blair, no less. Guilty pleasure, meet aesthetic skill.
Born and raised in Philadelphia, Batt made his way to Manhattan roughly five years ago. At the time, he was working for a Long Island-based band merchandising company, designing t-shirts and other fan-focused products. But, much as he loved it, in 2008 Batt threw in towel, determined to work for himself and bent on painting fulltime.
And now, thatâs just what he does. Day in and day out, he collides with the canvas in his Lower East Side two-bedroom walk-up, though soon heâll be relocating to Dumbo. We can appreciate his need for more space. With two pit bulls, Lily and Zoe, bounding about (not to mention fixating on our feet) and countless large-scale works scattered throughout the apartment, perched precariously against walls and otherwise making it a little difficult to walk without worry, heâs due forâand deserving ofâa real estate upgrade.
Battâs style has certainly evolved over the years, and currently itâs all about gridding and dots. Some depictions we encountered during our visit were of Russell Simmons, Frida Kahlo, and Karen O of the Yeah Yeah Yeahs. Just blocks and dots of color making for a magnificent and entirely fresh perspective. No Lichtenstein or Seurat to be seen here.
Our personal favorite Batt original would have to be Venus, which features a gorgeous girl (who looks a lot like Lana Del Rey). She sports a letterman jacket and oversized sunglasses, her long locks billowing in the wind before a body of water. The closer you stand, the more out of focus it is. But back up a bit and the beauty comes together, well, beautifully. We really dig the illusion, not to mention the evident meticulousness. And we arenât alone. Batt counts among his collectors the likes of Reese Witherspoon and John Krasinski, amid myriad more. Though he can command up to $25,000 per piece, prints are available on his site, signed and embossed, for only $90.
Jolly and totally down to talk shop, Batt opened up to us about his craft, breaking into television (if only onceâŠso far), and his relationship with L.A. Spoiler alert: New York City wins.
Letâs begin at the beginning. Have you always been into art, even as a kid?
I was always drawing. And, I went to college for illustration at Hartford Art School in Connecticut. Also, my dad was an artist, too.
Thatâs awesome. Who is your favorite artist, apart from pops of course?
My primary influence is Chuck Close. Chuck Close is the man.
I can see that, for sure. You have a couple reminiscent, albeit distinct, aesthetics. What would you call them?
Pixilated paintings and dot style[, respectively]. [The former] is influenced by the digital era. The reference is like a bitmap. [The latter is] like look[ing] at a newspaper [if] you zoom way in; itâs all dots. Itâs influenced by print.
What does this endeavor mean to you?
Iâm just so motivated to be painting every day, as much as possible. Definitely more motivated now than ever before. I spend a lot of time; Iâm working at least twelve hours a day, seven days a week. Thereâs so much I want to do, so much Iâm set up to do right now. Commissions and pieces Iâm compelled to do. Iâm the only one here to do it, too. I donât have assistants or anything, so I just have to be as productive as I can. I work really hard.
It shows. How do you create these pieces? Like, where do you source the initial images?
This [Russell Simmons image] is taken from a photo on the internet, which is something Iâm trying to avoid. I want them to be original. Like, with Gossip Girl, I couldnât show this because I didnât take this photo, you know?
Itâs tricky. So, how did you initially get involved with Gossip Girl?
The head writer bought two of my paintings at a show I had in L.A. They wanted [to feature] a New York artist and were trying to write me into the script. They wanted me to play myself for authenticity. When they first told me, I really [didnât] expect it to happen. [After some back and forth,] they invite[d] me to do a cameo on the show.
Were you stoked?
I was very interested.
Then what?
They explained what the scene was going to be; Chuck and Blair come to my studio to talk about a painting. They wanted me to read in front of the camera. That was the final test. I was super nervous, because Iâd never done that sort of thing. They just wanted me to be myself.
Did Gossip Girl film here?
They wanted to. Because of the walk-up, it was an issue. So, they came, picked up, like, 18 of my paintings, and recreated my studio out on Long Island. It was cool to see it all recreated.
I bet. So, what was the end result?
It was amazing. The experience was great. They made me feel really comfortable and were really enthusiastic about the work. It was so surreal. It should be great exposure.
Beyond the head writer of Gossip Girl, who else invests in your work?
Probably the most famous person whoâs bought work from me is Reese Witherspoon. I did one for John Krasinski a couple years ago, too. It was commissioned by a friend of his. He loves JFKâŠ
Are you bent on depicting famous faces or are you also into lesser-known subjects?
Itâs both. I donât feel as comfortable submitting pieces where I didnât take the photograph.
And that largely ties back to portraying folks you know or have easier access to than the celebrity (or deceased) set. Tell me about your Frida Kahlo painting.
I think itâs important [to represent] the power of women. Thereâs not as many female artists. Thereâs not as much of a presence of female artists. Thatâs what inspired me. I like subjects who are game changers, who overcome adversity, who stand up for something. To me, Frida totally represents that.
Absolutely.
Itâs also about doing more obscure icons. People I think are amazing but donât necessarily get the recognition of, like, Bob Marley, whoâs on posters everywhere. [For example,] this is Karen O. from the Yeah Yeah Yeahs. I love Karen O.
Does anyone ever sit for a portrait?
Used to. But now I take a photograph because I donât want to make someone wait so long.
Speaking of waiting, whatâs your waiting list like?
A year. Some are priority. Some people are anxious to get something; others are, like, Whenever. Iâm happy to have a bunch of commissions lined up.
It must be awesome to be an artist who isnât starving.
Itâs the best. Iâm starting to pick up some momentum now.
Yes, you may even make it to Art Basel this year. Tell me more about the piece you anticipate showcasing there?
Iâve probably put in 1,000 hours so far. Itâs tedious. I really hope they take it.
For sure. So, does New York inform your art? This area?
Itâs always inspiring to walk around the neighborhood. Iâm lucky I have dogs. Gets me out of the apartment.
But soon youâll be abandoning the Lower East Side for Dumbo. Are you ready to say goodbye to Manhattan?
Iâm freaking out. Iâm majorly freaking out.
I would be, too. Lastly, your managerâs based in L.A. Can you describe your relationship with the West Coast?
Thereâs so many opportunities for artists out there now. Itâs really refreshing to have New York artists [going] to L.A. The general population in Los Angeles is all about it. Thereâs so much to take advantage of. Itâs really positive and beneficial to be involved in some way. Itâs also nice to recharge a little bit, too. I love going back and forth, absorbing what both places have to offer. I donât think I could live there full-time, though. New York is just so amazing.