Theartistrobert is the moniker of Robert Walker a Suffolk-based fine art painter best known for his ‘geo-figurative’ works and quirky still lifes. He mainly paints in oils enjoying it’s multiple technique uses and is currently experimenting in mixed media as he further develops his practice.
Interested in the semiotics of the figure, his works derive their meaning based on the model’s body language or expression and perceived cue. He enjoys the interplay of the organic figure with linear and ovoid geometric forms bound together in tight colour harmony and composition and now leans towards an intuitive approach having studied formal composition and colour theory. His figurative outlines express his desire to communicate the electric energy, often latent, within the human form and his use of ‘guard’ lines to protect the model is a personal stylistic choice. As such his work can be considered abstract expressionist. His latest series of works mix his master techniques and references, an avenue he is keen to continue exploring.
Can you tell us a bit about your background and your journey into art?
I was always drawing and painting as a child in Scotland and my aptitude was encouraged by my teachers from an early age. Secondary school produced a definite first fork in the road for me. My art teacher was Gordon Mitchell (Portland Gallery) and we got on very well given my diligent approach to everything art. His strong advice was to ‘get myself into Edinburgh Art College’ but with parental influence, I instead ended up moving to Suffolk and spending 35 years in the telecoms industry as a Project Director and Chartered Engineer. During these years of bringing up a family I still practised but very much on ‘hobby’ terms with the odd workshops. I watched a South Bank documentary – coincidentally on turning 40 – about the painter Jack Vettriano who had picked up his brushes again at that same age and had made a successful career of it. Thus a re-ignition of my desire occurred and I also rediscovered Gordon, now working as a successful painter, which really spurred me on.
What education route did you follow to master your craft?
I’m primarily self-taught, mostly through books, and the internet can be a great resource if finding quality places, but there’s no substitute for lots of doing and experimenting to cement that learning into place much like any other skill. I have experimented with all sorts of drawing media, printmaking, calligraphy, and gold leaf. I followed the whole realist academic atelier renaissance through the last 10-15 years or so and was a little frustrated that whilst they appear almost everywhere in the US there were few and far between the UK side who offered part-time study. It was a breath of fresh air to discover that Travis Seymour and Nancy Fletcher of the Barnes Atelier School of Fine Art had opened up such a facility around 2013 or so and I was fortunate to study a summer school there and subsequently a few portrait workshops which I very much enjoyed. Subsequently being based in Suffolk I turned to online instruction vehicles such as Scott Eaton’s Anatomy Course, working 1:1 with Scott Waddell for a while and latterly with Dorian Iten. I would also credit Graydon Parrish’s influence regards the learning of the Munsell system as a great way to understand colour and I spent a good deal of time working through various exercises of his to form a good basis for its understanding.
You have a very distinctive style. Can you tell us about you geo-figurative work and why you were drawn to this style?
Thank you that’s refreshing to hear. I hadn’t purposely set out to follow a particular style but rather to experiment post some commission work I had just completed. I wanted to break free of any constraints of design and to allow myself an intuitive ‘play’ on the canvas to a point where it satisfied my own aesthetic need. I have always admired those artists who can make life appear from the confines of a 2-D surface – it can be as simple as the fall of light on a sphere but the human figure provides a ripe ground for expressive emotion – so my leanings have historically been driven from a realist and mostly figurative perspective. ‘How do they do that?’. Embarking on a figurative nature in art all those years ago made my artistic journey a little harder. No access to the right model, with the appropriate clothing, in the appropriate environment with the desired lighting. It was just too difficult and thus turned to still life, albeit personified ones. There is now a much larger variety of high-quality photographic models in various expressive scenarios for commercial use that allow a multitude of paintings to develop in one’s mind and thus I have returned to explore it. I have studied formal methods of composition such as those echoed by Jay Hambidge and Ewan Uglow with their root rectangles and including the more traditional approaches. Whilst I hugely appreciate atelier realism the aesthetic in itself is not enough to satisfy my inner vision. The orderly composition of shapes in framing my figures juxtaposes the organic figure and perhaps there is an aspect of the engineering side of the brain coming into play.
How does your older work differ from the style you present today?
My older work was heavily inspired by wordplay, humour, and pathos. My lack of figurative access meant I leaned on the use of personification with, for instance, apples, pears, and bottles to achieve my aims. Composition is always in my mind having spent many hours behind a camera as another related interest and my colour tastes continue to be bright, if not even bolder now. Support wise I’d often paint on MDF panels and with little tooth, I adopted a medium and technique that allowed a very smooth finish. This carries over into my use of a fine canvas weave today.
How has being a member of the Visual Artists Association impacted your practice?
Purpose. The VAA has in the most timely way become a perfect vehicle for encouraging me with my practice. They have a number of practical guides and products that essentially coach you through becoming more visible in the art market and have a wonderful book on the subject. Becoming more visible on social media has already provided an outlet for my self-expression and a sharing of aesthetics that is resonating with many. So I am encouraged to practice more, produce more, and believe in my output more.
Can you tell us about any themes recurring through your work?
A certain narrative has to exist for me either explicitly in the painting or through its association with its title. There has to be some kind of story. This carries through to my newer series together with my love for contemporary colouring. My latest series includes an ‘emphasis’ line around the figure to signify the potential in all individuals, that bolt of ‘electricity’ we are draw from and I adopted a series of ‘guard’ lines that strengthen the works compositionally, spatially, and as metaphorical protection for the models.
Can you talk us through your process from initial idea to the final piece?
I am interested in the semiotics of the figure and in its infinite ability to convey meaning. Communication involves a recipient and we don’t all interpret visuals and body language in the same way so interpretation can be creative I like playing around with a figure or portrait to create my story usually prior to any design work. This involves a lot of staring and thinking! Once I have the concept I make use of Photoshop, sometimes Blender if lighting and environment need further consideration, to aid my design of the piece. My older work almost always originated from a thumbnail sketch based on the wordplay or phrase being explored, hundreds of which still lie undeveloped around my studio! I have stock of various stretcher sizes and a roll of pre-primed canvas so can stretch and prepare on a custom basis immediately as the idea still holds its excitement. I am then committed to its creation. I ‘string’ at this stage to facilitate vertical drying. Usually, an oil transfer of the image is then undertaken, strengthened, and the canvas toned with a suitable imprimatur. Most of my figure work is painted indirectly i.e. in layers adopting a verdaccio or open/closed grisaille methods but I have experimented too with direct methods. Depending upon the design the figure is painted either first or last with my various geometric layers building to a crescendo of finish. I have experimented with many different types of mediums over the years trying to find that ‘magic potion’ of the old masters but only utilise one or two these days depending upon the effect required and I also make my own as required. Once completed I will photograph and update my own archive, catalogues, website, and social media as required. Only then once I have communicated its existence do I feel I have really completed the work.
How do you select your bold colour palettes?
It’s very intuitive for me. Whilst I have knowledge of colour schemes I do not purposely adopt e.g. a ‘split-complimentary’ or ‘analagous’ scheme but will bring the thinking in dynamically as I create my design relying on my visual satisfaction. Indeed that colour will often morph one way or the other, hue, chroma or/and tone depending upon how the actual painting is progressing. I do tend to go ‘cool’ on my background allowing my hotter hues to come forward and provide some spatial depth, something I play with re the overlapping elements too of course. Nature is much ‘greyer’ in colour than we sometimes appreciate so the contrast with the brighter part of the colour palette provides another aspect of interest.
Which artists inspire you and why?
So many to choose from including many contemporaries but those I keep coming back to for inspiration are:
William Bouguereau & Roberto Ferri – for their realist, expressive portrayal of the human form
Gordon Mitchell – for his early encouragement, never-ending creativity, and work ethic
Normal Rockwell – an oft-underrated painter and master storyteller
Salvador Dali – for showing me how art can transcend convention
You have recently made the move to full-time artist what led you to this point and what does the next year hold for you?
Since moving on from my professional role [and unfortunately circa 18 months of caring following my wife falling ill] I feel I now have the time to carry out my wish of fully expressing myself in creating art that speaks both to myself and to an audience yet to be fully discovered. I am at my most expressed self, whilst creating in the studio. I believe I am at the start of my artistic journey in many ways. Ideas and work ethic are not an issue but having an outlet for my work is a near-term goal to ensure the full invest/reward cycle – spiritual as well as fiscal – can be maintained. I can feel a move to experiment in mixed media in the next year and if economics allows start to directly sponsor my own models’ work for ultimate control of my creative process.
What are you working on currently, and do you have any exhibitions coming up you can tell us about?
I am full-steam ahead on my geo-figurative works at present and I cannot see any end to this series in the short term. Possibly a few larger works to explore just how far I can stretch my approach. I am currently exhibiting in the FLUX Virtual exhibition ‘Artistic Visions’, the D31 Gallery’s ‘Celebrating Our Differences’, and in Fox’s Yard Gallery more locally in Stowmarket, Suffolk in their upcoming show ‘The Great Sublime’. I have an ambition to be presented at a London-based art fair during the next six months.
What is your ultimate ambition as an artist?
Personally to continue to find joy in the act that is creation. A blank canvas to visual excitement. But also to share that joy. To find an audience that resonates with my aesthetic and who wishes for that visual stimulation to carry into their own homes. And for a gallery that supports my style and ambition to represent me on an ongoing basis.
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