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Artist Profile: Matthew Paca Bransky

Matthew Paca Bransky

P.O. Box 623
Excelsior Springs, MO 64024

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Bio:

Hello, Welcome to my art profile page. I am also known by the name "Paca". The name Paca originated from my grandson Tyler who dubbed me that name when he first could speak in 1996. The relationship of Paca and his grandson is such that the bonding of “Paca” versus “Grandpa” became the only name I was known by to Tyler and subsequently to my granddaughter Tristan. The significance of using Paca as a signature on my artwork didn’t dawn on me until several years later. I was always torn by my painting signatures due to the length of my name that I tried several ways of signing my early artwork, such as Matthew R.J. Bransky, Matt Bransky, finally to merely initials M.R.J.B. My early work can be identified by these signatures. My initial interest in art was during a period of time that I was coping with an illness and I resorted to attempting to draw images and places that I had perceived as safe. My abilities at that time were lacking in both composition and conformity to acceptable standards of art acceptance. Initial works were done in pencil, graduated to colored pencil, advancing into light chalk pastels with an attempt at watercolor which soon waned. I then embarked on viewing every conceivable art show or program that was televised on public television. This opened my mind to the concepts and principles of painting. Watching these shows taught me many basic concepts of perspective and composition. I proceeded to purchase my first canvas and acrylic art supplies. My first endeavor, based on photographs I had taken, Montezuma’s Castle in Campe Verde, Arizona was to recreate this complex architectural structure on canvas to represent the enormity of this stronghold of Montezuma’s determination to remain free. Since that time and several hundred paintings later, my artwork has progressed to representational style, primarily in landscapes and seascapes depicting the natural environment created by realistic and imagined environs. The only schooling in relation to my art background is that of one semester of life drawing at Glendale Community College. My art professor stressed the importance of negative drawing. For sometime I struggled with this concept and failed to totally comprehend it. It was not until my semester finals, in which I had to reproduce ten master’s works of art. The selections of these ten masters were at my choosing, but the accuracy was imperative. My choices for this final project consisted of Matisse, Seurat, Copeland and other renowned masters. The choices I made were based on the complexity and simplicity to which these masters applied their craft. Over time, I have since taken on paintings composed not only of still landscape scenes, but have incorporated people into many of my compositions. The basic principles I learned during this one semester were the anatomy of both human and animal life forms. I have since created paintings of wildlife to portraits. I have since eliminated any fears I previously had with adding life to my paintings. My passion for seascapes and lighthouses has driven me to compose and paint several national lighthouse landmarks. This passion is further driven by my sense of the lifestyle of these keepers who preserved the safety of our maritime explorers. Their dedication paralleled that of these sailors that endeavored to un-chartered waters and unknown hazards. The life of these lighthouse keepers was simple, fraught with harsh conditions and the responsibility, unselfishly and steadfast in their course of daily life. Not only was their life simple, but their dedication imposed severe hardship on their family and lifestyle. Currently, all lighthouses operate on an automatic system. No longer must a light-keeper climb the towering steps to ignite his beacon. I regress beyond my past and wish I could have experienced the simple lifestyle of a lighthouse keeper. I enjoy solitude and self imposed isolation. The uniqueness in architecture of each individual lighthouse fascinates me to a point of an endless supply of subject matter for my current paintings. My fascination with the sea, its violence, serenity and constant ever changing representations give me inspiration to pursue any depiction I desire to portray these magnificent architectural wonders. Although I am currently on a quest to portray these magnificent scenes in both a representational and impressionistic style, my desire is to be recognized as a representational artist of the Renaissance era in the style of artists such as Renoir. His representations of women of that specific time era, in flowing white lace dresses, sunbonnets and flowers has given me the inspiration to replicate that time period. I have since painted some artwork, depicting those images that I constantly perceive in my mind of which my first endeavor is titled “Mommy and Me,” a painting of a mother and daughter strolling down a path, framed by wild flowers and sunlit skies. The contrast of these two women against the background of a sunset and a field of wildflowers gives this painting a unique perspective of counter-imposing subjects. The viewer’s perception of this painting could be that of harmony, unification or companionship and relativity to ones environment. It has been said by people viewing my various art styles that it is difficult for them to perceive that the same artist has painted these various works. My goal is not to specialize in any one field of subjects. My aspiration is to excel in the mastery of versatility. To confine myself to one genre would be to limit myself as many artists have done and be recognized only for one particular category and style. My passion and drive do not allow me to limit myself to any specific direction. As I paint each new painting, I learn techniques, which I find to be applicable to my next undertaking. I find that continuously adopting and applying newly learned skills allow me to expand my undying resolve to become a master in modern times.