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Factor demonstrating for his class at the Guangxi Arts Univeisty in Nanning, China, summer 2015




Ian Factor was born in Boston, Massachusetts and began his formal art training at the DeCordova Museum School in Lincoln Massachusetts, the Museum of Fine Arts School and Massachusetts College of Art in Boston, and continued at the Art Students League and the National Academy in New York City. Factor earned his BFA from the School of Visual and Performing Arts at Syracuse University and his MFA from the New York Academy of Art where he graduated Cum Laude. His work has been exhibited and featured in galleries and museums worldwide, including New York City, Los Angeles, Boca Raton, Boston, Maine, Paris, Florence, Siena and Pietrasanta Italy. It is held in private and public collections internationally. A professor of fine art, illustration and design for over 20 years, Factor has taught and run programs in universities and academies from New York City to Guangxi China. After a seven year span living in Bend, Oregon where he was the Founder and Director of the Bend Academy of Art, as well as the Coordinator and Lead Instructor of Satellite Campus Art Programs at Central Oregon Community College and a Professor of Fine Art and Design at Oregon State University, Factor moved back East. In the spring of 2021 he purchased an historic 1870s church in Bridgton Maine, renovated it and founded Factor Fine Art, a Center for the Arts, Gallery and Studio where he currently lives and works.

Factor’s work investigates the intersection and collision of power dynamics, segregation, cross and inverse-racism, antisemitism, bigotry and theologically driven white male supremacy prevalent in today’s international socio-political landscape. The work speaks to the subversion and inversion of the power structure and the collapsing, contrasting ship-of-fools swing in modern culture, often times ignited by traditional educational institutions. Factor’s time-based 4D pieces explore and exploit the mental, physical, emotional, psychic pain and scars left on the modern psyche of victims of violence and segregation, and the PTSD infused, exposed-nerve, reactionary, post-modernist deconstructionist behavior of today’s flip-flop focus of shtick vs. substance, spin vs. sincerity and the ever growing sense of universal fear and emptiness in the modern dystopian present.

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