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Contemporary figurative paintings
Figures in landscapes


Bryce Brown artist in his art studio 2016

Bryce Brown, studio 2016

About the artist

Bryce was born in Auckland, New Zealand in 1971.
He has been exhibiting since 1999, a full-time artist since 2005 with nine solo exhibitions.

Bryce's work is in private and public collections in New Zealand, Europe and the USA including the John Deere Art collection in Moline, Illinois (2005) and Foodstuffs New Zealand for Nga Potiki Iwi of Papamoa, NZ (2010).



Significant events

1997 Embarks on International travel, studying the works of the Masters in the Galleries and Museums of Europe. Discovers a passion for and ability to paint.

1998 First solo exhibition - Whangarei.

2000 Travels to Turkey - gains inspiration and begins new body of work.

2004 Attends studies in Graphic Design - Tauranga.

2005 Becomes a full time artist - 3 exhibitions this year sells work to The John Deere International Art Collection as well as other international collectors.

2006 Continues to research and paint historical New Zealand themes - figures in our landscapes and environment as well as other international themes.

2006 Chosen to be published in the popular book 'New Zealand's Favourite Artists'

2007 Chosen for the esteemed Vero Calender and published alongside artists such as Don Binney, Ralph Hotere, Rita Angus and Colin McCahon.

2008 Exhibition Lightly on the Land at Zohar Gallery Mount Maunganui New Zealand

2009 Works mostly on commissioned paintings

2010 Exhibited work in the Braveheart Exhibition curated by Liz Caughey

2010 Group exhibition Fisher Brown Gallery Tauranga.

2010 Commissioned by Foodstuffs NZ® to paint commemorative work for the Nga Potiki Iwi, Papamoa.

2010 Releases book Bryce Brown Paintings 2005 - 2010

2011 Group exhibition Bryce Brown, Dalene Meiring and Matt Guild. North at The Artists Room Dunedin.

2012 Solo exhibition Creative Tauranga Gallery

2012 Winner merit award Molly Morpeth Canaday Art Award

2014 Works on small works. Lives and paints in the Bay of Plenty, New Zealand

2016 Touring North Island New Zealand galleries, gaining inspiration.

Builds new studio on family orchard and continues to make new work

2017 Working on a new series for 2018 exhibition

About the work

On his distinctive earthy figurative style, Bryce says “I like to explore positive human emotion and activity through my paintings. I’m always drawn to large scale boldness and always accentuate form as well as the balance of positive/negative space and masculine/feminine elements. The use of the human form in my work is vital and it's rare that I'll make a painting without the use of the figure.

My paintings are created to accentuate the positive aspects of life and to take the viewer to a place of calm, where they can delight in the everyday things that pertain to our visceral and spiritual, rather than material natures.”

Artist's Statement

"A modernist influence mixed with New Zealand culture is evident in my  paintings and gives them a truly unique, international flavour. Aesthetics is always high on the agenda, I paint to please the eye and draw the viewer in. As well as symbolism, meaning, making statements, I think art should always be about beauty."

Bryce works at his studio near Pukehina Beach in the Bay of Plenty New Zealand.

To find out more on buying Bryce's paintings click here.

Technical information

My work is all acrylic painted on museum quality 10 oz. cotton duck, or prepared board.

I finish the paintings with an isolation coat (acrylic gel) which keeps it separate from the solvent based varnish that I then apply. This gives a great finish which is highly UV resistant, helps eliminate scuffing and can be removed (back to the isolation coat) for future restoration.

Large paintings are on 3 cm deep stretcher bars. I frame a lot of my work with a 4 x 18 cm white, wood frame.

Smaller works are typically on a prepared board, framed on a floating mount.

Please ask if you'd like to know more about materials, framing, cleaning and restoration of my paintings.







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