Beastman (Bradley Eastman) is a multidisciplinary artist from Sydney, Australia who has recently completed a mural at Norm O’Neill Cricket Training Facility. Inspired by the environment around him, Beastman creates colourful and abstract geometric artworks.
His works have resonated with many around the world, having exhibited and curated exhibitions internationally. He has also been commissioned by many large institutions and companies such as Vivid Sydney, Facebook, Apple and many more. His works have been acquired by the National Gallery of Australia and his murals can be viewed all around the world, now including the Georges River area!
We were able to ask him a few questions regarding his processes.
1) How long have you been painting murals for and what’s your favourite thing about creating large scale murals?
Painting murals has been part of my art practice for around 12 years now. My favourite thing about creating murals is the ability to reach an audience I usually wouldn’t reach through a gallery space or online, these large public murals almost force people to engage with the work, challenging them to work out the meaning behind the work and decide whether they love it or hate it.
2) Can you explain your process? How do you develop and then install an artwork?
The mural works are planned out as a digital illustration. For this piece I used the existing CFC panels on the building as a grid guide to create the composition on the computer, then again used those CFC panels to line up the artwork and achieve the precise geometric measurements across the entire building when I am actually installing the work. This mural I used a boom lift to access the entire surface of the wall, and we even had to remove the fence panels on the left side in order to reach the top corner of the building. I painted this piece with aerosol paints, and used approximately 30 different colours.
3) When you were designing the work for the Norm O’Neill Cricket Training Facility, how did you respond to the site?
I really wanted to have a sports theme be present in the work, so I used white lines to split up the composition in the same way white lines are used on sports fields to mark out boundaries and different play areas as required. I also tried to incorporate cricket through the motion of a cricket ball bouncing through the entire composition, in the same bounce motion as if bowling on cricket pitch. I also included some cricket stumps to break up the composition and then emphasised the concept of competition through the two human head profiles as if they are facing or versing each other. I then responded directly to the building itself and its surrounds through the colour palette, featuring the greens from the park area, blues from the playground, greys from the existing building and then a pop of yellow and red to make the work more vibrant. I wanted the artwork to have a sense of belonging in the park, not feel out of place.
4) Who are your favourite artists? Who do you draw inspiration from?
I love and admire the work of many other artists all over the world, but I try not to draw my inspiration from these artists. I am more interested in striving to continue to evolve my style into new areas, and in turn create new images that are distinctive, stand alone and are recognised as my work. I mostly draw inspiration from the various landscapes and environments that I am surrounded by every day.