
The life and work of artist Chris White…
Recently, we featured the Kevin Busch’s 1955 Triumph drag bike, “Born Again” — one of the standouts from the 2020 One Moto Show. While working on the story, Kevin showed us the painting he’d commissioned for the build, introducing us to the work of Chris White (@buzzvizualz) — and we were blown away. Few artists have the ability to capture the speed, energy, and character of the motorcycle in this way.
Chris is a retired art tutor who taught at Hereford College of Arts and freelanced as a video artist for live mixing at various music festivals — one of the main influences for adding speed and motion into his paintings. What’s more, his late father was a mechanic and motorcyclist, and Chris has fond memories of spending time with him and his engines:
“Having dirty hands, but with paint instead of oil, is an interesting consideration.”
Today, Chris has a small workshop five miles outside of Hereford, on the English/Welsh border, which sounds like heaven for an artist.
“The location is perfect for many reasons including isolation, reflective learning, the four seasons as they evolve and no mobile phone signal.”
Here, he’s created paintings for some of our favorite builders — Maxwell Hazan, DMOL, Utopeia Moto Company, Raccia Motorcycles, and many more — and his work has been featured in some of the world’s most prestigious venues, including the The Haas Moto Museum, Moto Circle Festival Vienna, and the MotoDoffo Collection. He works with mixed medias, including acrylic paint, spray paint, vintage papers from magazines and old books, graphite, wood, and metal.
And, like his subjects, Chris is not one to stand still. He’s always looking to take his work to the next level, learning new skills and introducing new techniques, materials, and technology into his work. Our favorite idea he’s working on? Incorporating sound into his paintings, utilizing Near Field Communication (NFC) chips to play back a soundscape composition of the machine speeding past at high speed! Says Chris:
“It seems only right to make the paintings sing!”
Below, we talk with Chris about his background, his process, his work, and more.
Artist Interview: Chris White (@buzzvizualz)
• Can you tell us a bit about yourself, your background, and your studio?
I’m 55 years young and live in Hereford, which is a city on the English/Welsh border. Retired art tutor. Spent 15 years teaching art to second year students (17-19 yrs) at Hereford College of Arts. Taught graphic design and multi-media. Prior to that, I spent many years working in graphic design and visual arts.
I have a degree in Spatial design for film, television and exhibition design. For approximately 7 years I freelanced as a video artist for live mixing at various festivals including Glastonbury, Big Chill and other independent music festivals. My main area for inspiration was abstract movement. This involved capturing objects in motion along a timeline and multi layering of objects moving past a static form. Light motion, shadows and vehicles in motion. This was one of the main influences for adding speed/motion to my paintings.
I am now in the process of building my brand/business which has been running for nearly 3 years. My studio is situated 5 miles out of town in the countryside where I have the pleasure of habituating a small workshop where I produce my artworks. The location is perfect for many reasons including isolation, reflective learning, the four seasons as they evolve and no mobile phone signal.
• When and how did you become interested in motor vehicles as a subject?
My dad was a mechanic and motorcycle owner. I have fond memories of being with him and his engines. He sadly passed on when I was young, so it feels right that I’m involved in automation but in a slightly alternative way. Having dirty hands, but with paint instead of oil, is an interesting consideration.
I have always loved movement in all forms and after creating some photo realistic paintings of cars and motorcycles I felt there was something extra I could add to my works. I endeavour also to capture the movement as much as the form. They both play equal parts in my compositions.
All motorised vehicles have their own unique character whilst also having a common link. The internal combustion engine. Each individual mode of transport all contain their own “Big Bang” repeated at speed. Evolution at high speed. All of my artworks are without rider/driver as I feel that the vehicle I am studying has its own heart/character. If each build could talk they would all have a different story to tell. No limits!!
Anyone viewing my works, on screen or in the flesh, can imagine themselves interacting with the subject in their own mindset. The subject would be de-personalised if my works contained a rider in the composition. I think art should have some aspect of personal interaction or contemplative “dream time.”
• Can you tell us a little about your process and materials?
I use multi mediums in all of my pieces. Acrylic paint, Spray paint, Vintage found papers from magazines and old books, Graphite, wood and metal.
I love layering paint and creating textures that sit alongside with flat colour. My approach is abstract and literal. Representative and abstract. I love the combination of the two. As the motorcycle speeds past you only get to see parts of the vehicle. The rest is blur of lines and colour. The only thing missing is the sound.
This is an area I am developing further. I plan to record the sounds that the particular subject emits as it speeds past, creating a mix/soundscape composition of the various sounds it makes. The heart of the machine.
Once an audio mix has been designed I plan to embed Near Field Communication (NFC) chips adhered to the rear of the painting. Using your mobile device you can place your phone near the engine and then it will transmit a signal/link to a sound file. Composers/musicians such as Phillip Glass, Steve Reich and Brian Eno have been big influences on how I listen to sound. It seems only right to make the paintings sing!
• Do you have a favorite piece or series of pieces?
I try not to have favourites! Each individual piece has its own story to tell regarding materials, techniques and processes. And the challenges they invite me to interact with. Each outcome is based on solid reflection and critical analysis and can only push me forward to improve what I create.
I make sure that every new piece is carefully constructed as a schematic, based on previous works and approaches. I have recently started adding high contrast coloured backgrounds to my pieces to enhance the subject and its many intricacies. I also love geometric shapes, and these are elements that I will consider including more of in future pieces. But it solely depends on the subject.
Laser cutting of wood, plastic and metal are also components that I wish to introduce to my works. I like the idea of being able to look at one of my pieces as a three-dimensional work. In the same way you would look at a motorcycle. Peering through grills or around and behind shapes to reveal highly detailed paintings of engine sections. These are all areas to consider to take my work to the next level. Combined with free flowing abstract paint.
• Who are some of your favorite artists and inspirations?
- The Futurists (circa 1910) A movement solely dedicated to the machine
- Leonardo DaVinci
- Albrecht Durer
- The Dutch Masters
- The Bauhaus movement Syd Mead
- Wassily Kandinsky Turner
- Boris Telegan
- Graffiti Art
- Ben Nicholson
- Charles and Ray Eames Vivienne Westwood Alexander McQueen Gucci
- Iris Van Herpen
• Your work has been showcased all over—what’ve been some of your favorite venues, events, or exhibitions?
The Haas Moto Museum. A shrine for all that is beautiful and unique regarding cutting edge motorcycle design and innovation. Bobby Haas has been amazingly supportive with myself and my art.
Moto Circle Festival Vienna. A beautiful city that hosts this amazing festival – curated by a group of totally supportive individuals. They all have regular day jobs and every year they work their arses off in their spare time to pull the rabbit out of the hat with this independent and passionate weekender. Curated by Jenna Phillipe.
MotoDoffo Collection. This winery in California combines the artistry of wine making with a stellar collection of motorcycles. I have been invited to produce 4 paintings to be reproduced into labels for their next collection of wines
The Qual. I’m very much looking forward to having my work showcased there where I’m looking for collectors to invest in what I do and join in the making of “High End” artifacts that visualise their collections in motion.
• Why do you think there’s such a close tie between motorcycles and visual art?
The motorcycle has teeth! It can kill if taken for granted. Enjoy its power but respect it and its many components. If you do this you will have great joy and will travel many miles. Learning about it will teach you more about yourself.
The many friends I have made who are themselves motorcycle constructors are artists! The visual arts can also be three-dimensional metalworks. Honed from hours and hours of blood, sweat and tears. Trials and tribulations. These sculptors of metal create art that excites, stimulates, is revolutionary and built to entice. That to me is the epitome of art. A manifesto for each individual to live their lives by.
• How can readers find you online and/or inquire about commissions?
For regular updates on my antics please visit my Instagram @buzzvizualz
To purchase prints and originals please visit my website www.buzzvizualz.com
To discuss bespoke artworks relevant to your motorcycle or collections please email [email protected]
I endeavour to make my works available to all size pockets. Be it in print format or originals. Art should be available to all and not specific/exclusive to one particular whoever they may be.
I pride myself on being approachable, kind and humble. Always mindful of the moment, the distance travelled and the people who have helped me. Those who haven’t helped me have only helped me to work harder on myself. They are also truly valued.