The main direction of my current studio work is an investigation of space and the distortion of that space.  I work with many common art materials, paper, graphite and ink: which I combine with industrial materials such as vinyl adhesive films and reflective tapes.  The resulting collages are minimal and graphic.  Many reference architecture and landscape as they seemingly collide to compete for attention.  My ongoing investigation celebrates this idea of conflicting views and ambiguous space, especially as it relates to the two dimensional depictions of a (imaginary) three dimensional space.

I am not interested in how man devours the natural world and replaces it with industry.  I am interested in how the two coexist, how one may dominate the other for a while only to give up that control later.  To undermine the objectivity of my subject matter, I throw into question the view.  Certain conventional depictions of space are used, the diagonal for instance, to show perspective, however, when combined with conflicting diagonals, frontal views and overhead views, the sensation of space is heightened.  The observer is faced with multiple readings, which work to evoke a sense of time.  Interruptions in the landscape engage my attention, whether it is the lone blade of grass in the center of a parking lot, or the over-scaled house surrounded by (controlled) nature.  They are each out of place, yet they rely upon their surroundings to make themselves distinct.

My images ask the viewer to glimpse the idea of the subject without actually seeing it.  Different views of the same space, distilled down to their core essence, are now engaged for inspection.  My goal is to illustrate how the man-made and the natural are in a state of unrest.  This unrest is often best shown via explosions.  The explosion is an interesting “object” to me.  It constantly changes as it forms only to disappear as ungraciously as it begins.  To capture the energy in the center of the explosion and show it as a frozen moment is vital in my collages. 

Bio

Born in Danville, Virginia, Robert received my BFA from James Madison University in 1984.  His undergraduate work in metalwork and jewelry gave him a high regard for craftsmanship and the importance of good design. Later, as a graduate student in the Fiber Department at the University of Washington, he became interested in the underlying structure that acted as a support for his work. This interest soon led to wooden sculptures that combined his craft skills and knowledge with emotional and aesthetic decisions. He has said that: “during his studies he became interested in bridging the gap between studio artist, industrial designer, functional designer and artisan.

After graduation from University of Washington in 1987 with an MFA, Robert was offered numerous solo and group shows in the Northwest and nation-wide, and received critical reviews from Northwest and national publications.  In the late 90s he began receiving regional and national awards and honors along with important commissions. In 1996, he received the Betty Bowen Special Recognition Award from the Seattle Art Museum. In 1997 he received an Honorable Mention Award from Robert Storr for his work in "New American Talent, The 13th Exhibition" at CenterSpace, Austin Texas. And in 1999, Vulcan, Inc. commissioned an outdoor artwork for the Qwest Stadium and Exhibition Center in Seattle.

Charles Cowles Gallery in New York presented two successful solo shows in 2002 and 2004.  In 2006  Cowles facilitated his participation in "In the Eye of the Beholder," a group show organized by Sandra Dupret at the Elaine L. Jacob Gallery at Wayne State University in Detroit, Michigan.

At about this time, The Seattle Art Museum made their first purchase of one of Robert’s works - Keeper Hill - for their permanent collection.

In Seattle, Robert is represented by Howard House Contemporary Art.  Howard House has presented his work in six solo exhibitions in 1998, 1999, 2000, 2003, 2004 and most recently in 2007 and  they have included his work in several group shows.  Through Howard House, his work is now included in numerous public and private collections, including those of Microsoft and Nike.

Robert’s first international show was in 2005. He was invited by curator Therese Stowell to participate in "Infrastructure" at Studio Voltaire in London, England. In 2006 the Frye Art Museum curator, Robin Held, featured his work "Sluice Gate" in the Fry’s rotunda.

In 2007 Robert was included in the "Eighth Northwest Biennial" at the Tacoma Art Museum curated by David Kiehl (curator of prints and drawings at the Whitney) and Rock Hushka (chief curator at Tacoma Art Museum, Tacoma Washington.) Also that year he was invited by James Madison University in Harrisonburg, Virginia, to exhibit new work on campus at Sawhill Gallery and hold studio visits and critiques with grad students. Later that year, he was in a group show at the Schneider Museum of Art, Ashland Oregon. In 2008, he had two solo shows, one in Portland, Oregon and the other in Berkeley, California and he has been in several group shows since then.  Robert has won grants from the Washington State Art Commission and the Pollock-Krasner Foundation.

In November 2005 Robert received the first annual Art Alumni Award from the University of Washington. This award recognized his artistic contributions along with his support for the arts at the University and in greater Seattle. In 2006 the Curator of Northwest Art at the Portland Art Museum, awarded Robert the Juror Award for his work in the Center on Contemporary Art Annual in Seattle, Washington.

In 2008 Robert was a finalist for the Portland Art Museum’s Contemporary Northwest Art Awards. In addition, he was a finalist for the Neddy Artist Fellowship, a prestigious northwest award sponsored by the Bhenke Foundation, and given to an outstanding painter in the Seattle area.