Instant Gratification

This body of work is inspired by the 1972 Stanford Marshmallow Experiment—a study on delayed gratification that continues to echo in our modern, fast-paced, hyper-stimulated world. In the experiment, children were given a choice: eat one marshmallow now, or wait 15 minutes and receive two. The majority chose the marshmallow in front of them. That simple decision, repeated across subjects, revealed something deeply human: our impulse to choose immediate reward over future gain. Instant Gratification is both a personal reflection and a social commentary on our dwindling attention spans and our increasing pursuit of quick fixes, fleeting pleasures, and surface-level satisfaction.

 

As a painter for many years, I’ve grown accustomed to slow, intentional creation—building a work layer by layer, sometimes over months. But in recent years, I’ve noticed a shift in myself: a lessening attention span, a desire to produce work more quickly, and a craving for immediate visual payoff. To navigate this change, I turned to photography—an art form that gets me out of the studio, engages me with the world, and allows me to create something arresting in a fraction of the time.

 

These pieces begin with photographs that capture moments of indulgence, thrill, and vice—acts of instant gratification in their own right. I manipulate the images digitally, heightening colors, amplifying textures, and distorting reality to evoke the feel of a painting. From there, I return to tactile process by adding mixed media, paint, and embellishments to the printed surface.

 

As the series evolved, it naturally took on the qualities of contemporary Pop Art—vivid, immediate, and rooted in the visual language of mass culture. Just as Pop Art elevates the everyday and the consumable, these works reflect our culture’s obsession with immediacy, pleasure, and overstimulation. Instant Gratification is not only the title of the show, but also a reflection of the work itself: accessible, bold, and eye-catching—yet layered with irony and critique.

 

A notable element in this series is the use of stickers—a seemingly playful, even juvenile material that carries deeper symbolism. Stickers evoke childhood rewards, fleeting validation, and the kind of conditioned behavior at the heart of the marshmallow experiment. They also echo our modern digital landscape—where we decorate our lives with emojis, filters, and clickable reactions to feel seen, branded, or affirmed. Their inclusion is both a nod to nostalgia and a commentary on the commodification of self-expression in an attention economy.

 

The process mirrors the very tension I explore: while I strive for depth, texture, and reflection in my work, I am also negotiating my own evolving habits—grappling with time constraints, digital distractions, and aging hands that can no longer hold a brush as long as they once did. This hybrid method satisfies my need for speed while honoring my roots as a painter.

 

With these works, I invite the viewer to reflect not only on what brings them joy or pleasure, but how and why they seek it. In a culture addicted to immediacy, what does it mean to slow down? To wait? To want!

 

 

Bryun Holt is a painter, photographer and mixed media artist based in Titusville, NJ. His work is known for its bold use of color, textured surfaces and striking compositions. An intuitive creator, Bryun explores a wide range of subject matter, from abstract and figurative to landscapes – each piece crafted to evoke emotion and captivate the viewer.

 

With a BFA from California State University, Long Beach, Bryun’s artistic foundation is rooted in formal training yet his creative journey is defined by constant exploration and experimentation. His work frequently incorporates elements of social commentary, driven by a deep curiosity about the world and a passion for sparking meaningful conversations through visual storytelling.

 

Bryun’s art has been featured in juried online galleries, with some exhibitions showcased digitally on the screens of New York City’s Times Square. His work is included in both business and private permanent collections, and he continues to receive commissions from collectors drawn to his expressive and thought-provoking style.