Early in his career, Braia grappled with the symbiotic, yet hierarchical relationship between illustration and fine art. Today, the space between high art and the commercial appeal is less grey. Historians note that Rembrandt etched promotional pieces to display his skills. Daumier’s satirical lithographs were mass-produced in newspapers. Many artists during the Renaissance and other pivotal periods where commonly worked for hire and occasionally painted “couch pieces.” On the other side of the pendulum, in the early and mid-20th century, Norman Rockwell would sometimes give his paintings away after their intended use. It was reported that a patron of his once cut one of his paintings in half so that he and a colleague could share it, ignorant to its potential future worth.

While original artwork from “Golden Age” illustrators like Remington or Parrish might command millions today, the historical contention between what is considered true art still resonates. Braia suggests this was one of the many reasons he never stayed far from traditional methods and personal evolution. “For a long time, I was caught somewhere emotionally between Cézanne and Push Pin Studios. I’ll leave it to others to decide what they think I’ve generated in the past or what I currently do. I’ve always focused on what continues to move me.”

During his career in the news media and other corporate environments, he continued to seek opportunities to create works with traditional methods—not only to keep his hand-eye acuity sharp, but also to pursue his own artistic path. “It’s not always easy to describe in words for some; I can’t say that was a limiting factor for me, but I’ve always felt that art was something more—not just an alternate way to express myself or to interpret what I see or feel, but at times an attempt to answer something that I’m not fully capable of—a deeper understanding of the world, and my place in it.”

Braia remains in awe, even today, witnessing and living through the evolution of artistic tools at one’s disposal—computers, Photoshop, the digital world—all of which he spent years exploring and utilizing. “But for me, it was important never to lose site of my first love, creating something from nothing, manifesting it before my eyes, alone, in thought—I did this; I felt this.”

He continues: “I felt the need to stick with primarily traditional methods, occasionally incorporating modern improvements or more archival materials where applicable. I wanted to continue working with my hands, experiencing successes and failures along the way—the most effective way to grow is to manifest your growth.” While working at various newspapers and freelancing, there was a slow-growing concerted push away from the traditional methods to digital ones. “I did it; I relished it. At times I resisted it. But I am grateful to have experienced heart of the Information Age through the Digital Age—eras that still influence my methods and strategies today.”