Born in St Louis, Missouri, USA 1973
Raised in the suburbs of Philadelphia, PA

Attended Lehigh University in Bethlehem, PA where I majored in architecture. After much deliberation I realized my personality was more suited to the pursuit of visual arts rather than architecture. The collaborative nature of architecture as well as the necessity to compromise seemed to clash with my propensity to not "play well with others".

In 1997 I enrolled in the Master of Fine Arts program at the University of Pennsylvania located in Philadelphia. Perhaps the single greatest influence while studying was the readily available graduate school workshop at the now defunct Blauhaus. This full scale metal, wood and machine shop became my finishing school. A collection of the brightest students in both the fine arts as well as architecture programs were fixtures of the shop. Exchanging ideas and challenging one another. Dennis Pierattini, who ran the shop, was the ringleader who insured that those interested were never without a challenge, and generally after graduation some form of employment.

After graduating and two subsequent years as a member of the Blauhaus team I made my way to Los Angeles. Forgoing the trying drudgery of a New York artist I embraced the space and availability of the Los Angeles environment.

The furniture line began as an extension of my artwork. My desire to investigate methods and materials became the overarching theme in the work. Built for friends and family, I was able to pay careful attention to the environments that the pieces would reside in. In 2007 I introduced the world to Brant Ritter : Furniture at CABOOM4.

It is my hope that while my work may, initially, appear basic in format; the viewer is obliged to engage the work in a different kind of dialogue than an art that depends upon extensive internal/ pictorial relationships.

Architectural considerations such as size, scale, shape, line, edge, light, transparency & opacity and texture as well as material begin to define the formal concerns within the work.

I take a systematic approach to making my work. Carefully considering the materials to use, the format as well as the fabrication. Each step is thoroughly thought out prior to execution. I strive to minimize unnecessary movements in the making of my work. This approach allows the work to be clear and structured within a given system of thoughts and ideas.

Formally, my work exists in an unnamable place between sculpture, painting and architecture. It is these interstices that I believe the most visually and intellectually exciting forms occur.