The Artists: Painting in the Dissonance

Engineer-turned-artist Betina Brumm, out of Longmont, loves disruption. Be it in technology or art, she admires the kinds of creations that challenge tradition. The nature of the word “disruption” brings about ideas of chaos, but the true power of ideas comes from the opportunity they create. COVID, for example, broke all our routines and set the whole world on pause. Brumm began that pause as an engineer and came out the other side an artist who is certain this is the career she wants to pursue for the rest of her life.

Abstract realism

One of the more surprising moments in my conversation with Brumm was learning she’s actually schooled as an engineer. And, while she practiced visual arts since she was a child, she didn’t go to art school, something she believes lends itself to her creative process and a strong possibility why she landed on abstract realism as a primary means of expression: “I grew into abstract realism,” Brumm recalls. “I’m not formally trained in painting, but I’ve painted all my life,” “I started painting in my early teens. I started with pastels and crayons, to portraits, and I moved to oils. The transition to artist from engineer wasn’t an easy one.”

According to the International Society of Automation, what makes a great engineer is the ability to see and focus on the smallest of details. As the ISA explains: “Engineering is by definition a detail-oriented profession, but the field of automation requires almost fanatical attention to detail. Everything matters, which is why instrument spec sheets have so many lines on them.”

While a detailed-oriented approach is great for engineering, it didn’t lend itself as well to Brumm’s artistic expression.

“I was doing very realistic portraits,” explains Brumm. I always do painting as a gift, but I found painting portraits very emotionally draining. My approach for realistic paintings is that it has to be perfect. When I made the decision to go to abstract realism, it allowed me to play with color. Very deep and deep saturated [colors]. It gives the piece uniqueness. I’m putting the subject beneath a different lens.”

The Unknown

In her painting “The Unknown,” Brumm depicts the face of an older homeless man. On the surface of this concept, we have the idea of pity and struggle. However, Brumm’s use of color hardens the image, showing the man not only has wisdom and experience but also confidence in his world view.

In addition to the color, Brumm added texture to the man’s beard, uniquely grounding the subject. Using the freedom that abstract realism provides, Brumm adds depth to the painting, creating an image that leaves a lasting impression.

The blurring of artistic boundaries

Brumm’s penchant for the arts started at a young age. Not only does she have a love for visual arts, but she also has a passion for dancing.

“It’s more about the music itself and the expression,” says Brumm explaining her love of dance. I think that, originally, dance wasn’t related to my painting. I [painted] since I was little and did portraits all the time. But, [I] do have a series that focuses on the dance and the movement. Dance is rich and deeply emotional.”

Brumm’s roots connect to Spain, so it should come as no surprise one of the first dances she learned from a young age was flamenco. She was even able to join a tango dance troupe here in Colorado. The balance of movement and structure found within ballroom dance isn’t surprising when considering Brumm’s affinity for abstract realism.

An article on Medium characterized this crossover between the arts: “Both visual and performing arts serve as powerful mediums for the expression of emotions, ideas, and narratives. Artists and performers use their chosen medium, be it paint, sculpture, dance, or theater, to convey complex feelings and thoughts, tell stories, and connect with audiences on a deep emotional level.”

Brumm is working on a series that focuses on this crossover by extending the focus to the movement of dancers. She has a piece where a woman expresses herself through hip-hop movements, and she’s currently working on another piece that’s of a flamenco dancer.

The artist’s control of AI

Brumm’s perspective on artificial intelligence is unique as she is both an engineer and an artist. The threat of AI has been ever present, as Brumm sees it, and as some of the other creators in this series have attested to, AI is just a tool to be harnessed.

Unrestrained Energy

“Well, as a former engineer who always worked with technology, I love robotics,” Brumm confesses. “I love disruption technology. I think people my age who have experienced decades know the challenge in changing technology can scare people. But, it is inevitable.”

She uses AI to make sketches when she has an idea. Then she begins to edit lines, angles, and colors. Brumm admitted that whenever she uses a prompt, the resulting sketch is never good enough. AI is the assistant to her creative process; she is the director of the process.

“AI has been among us for decades,” says Brumm. “But, now it’s in everybody’s reach. It’s a tool.”

A small survey conducted by Playform found 65% of participating artists use AI to do some initial sketches. Though the evidence is a small sample size, Brumm painted the picture of how AI can streamline the creation process and, like most labor-saving technology, is leaning toward becoming a mainstay in the artist’s creation process.

The subtle themes

As the subjects of Brumm’s work are from a variety of different locales, the ideas of migration and global citizenry, although subtle, can also be found in her choice of subject and her craftsmanship. In a piece titled, “The British Library” by Yinka Shonibare, curator Achim Borchardt-Hume explored the nuances: “Migration to me feels ‘normal.’ I am aware that I am saying this from the privileged position of having had a choice. Hardly a migration, yours, some may say. Yet, I chose to migrate. To me, not to belong feels like an open place to be in.”

As her mother is originally from Spain, having such a close connection to another country gave Brumm a unique lens. Abstract realism as a vehicle allows Brumm the space to shift borders, broaden structures, and add extra elements to her work. Portraying subjects from as far away as Tibet and as close to home as Colorado, the lines blur ever so gently, while always letting the core of humanity, the well of emotions, tell the story. Even as Brumm moves to work on a commercial line focused on elements specific to Colorado, she wants to use the physical elements of Colorado to make the pieces unique to this area.

“I’m actually taking something that is very unique to Colorado, which is the change between winter and spring, from nature. It’s something we have that is beautiful. And, to be honest I haven’t seen people paint it.”

She wanted to incorporate the texture involved in the transition from winter to spring and spoke of creating cards. Having a card infused with actual Colorado soil, rocks, or leaves sent across the globe would be a creative turn in Brumm’s artistic process while still carrying the heart of her work.

Where the heart will lead

Currently, Brumm has lots of things brewing. She has plans for shows across the world in places like Greece and, weather pending, Dubai. Brumm often does paintings for auctions that benefit charities. The details on how this will manifest are evolving, but she hopes to have something for the holidays along the lines of textured Christmas cards. What is surprising, despite near worldwide exposure, is her goal of having a local show of her work here in Colorado.

“I think that I would feel accomplished in different ways if I could show all my work in a local museum. Or in a local space where people can see it. Pearl Street, a Boulder museum, but as I said I’m not actively looking at that yet. I want to have enough [paintings]. It will come.”

Brumm stepped forward in her career as a painter with the grace of a dancer. Until her local showing in Colorado becomes a reality, she will continue her journey from Greece to Colorado, wherever she ends up, she simply wants to go with the flow.