“I do things I want to do,
and don’t do things, I don’t want to do.
that’s my basic rule.
New Work: I Remember The Future, Yet I look Forward To The Past
Robert Santoré’s latest artistic endeavor, “I Remember The Future, Yet I Look Forward To The Past,” unveils a mesmerizing fusion of his recent series, Opera and Kava Dancers, while skillfully incorporating elements of surrealism and abstraction. Santoré’s masterful ability to seamlessly blend diverse artistic styles and concepts results in a body of work that challenges traditional perceptions of time, memory, and anticipation.
In this captivating series, Santoré intertwines the ethereal beauty of opera with the rhythmic energy of Kava Dancers, creating a visual symphony that resonates with the viewer’s senses. Through his vivid brushwork and vibrant color palette, he breathes life into each canvas, capturing fleeting moments suspended between reality and dreamscape. The fluid movements of the dancers merge with the haunting melodies of opera, transcending the confines of the present and transporting viewers to a realm where time knows no boundaries.
Santoré’s incorporation of surrealism and abstraction infuses the series with an enigmatic allure. Symbolic motifs emerge, blending familiar images with unfamiliar landscapes, inviting the audience to question the nature of memory and its connection to future aspirations.
The juxtaposition of surreal elements against abstract backgrounds evokes a sense of paradox, where the past and the future converge in a single, transcendent moment. Santoré’s deliberate blend of these artistic styles invites viewers to embark on a deeply introspective journey, exploring the intricacies of time, memory, and the intricate tapestry of human emotions.
“I Remember The Future, Yet I Look Forward To The Past” represents Robert Santoré’s relentless artistic exploration and evolution. With this series, he presents a captivating visual narrative that speaks to the profound complexities of the human experience, enticing viewers to reflect on their own perceptions of time, memory, and the boundless possibilities that lie ahead. Santoré’s ability to merge disparate artistic elements into a cohesive whole showcases his extraordinary talent and cements his place as a visionary artist pushing the boundaries of contemporary art.
“ACTS OF THE APOSTLES” 60 X 210in (152.4 x 533.4cm) Oil, enamel, wax on linen on birch panels
Study for “QUAERO SCINTILLA DIVINTATIS”
(In Search Of The Spark Of Divinity)
Painting: 8 X 8in (20.32 x 20.32cm)
Frame: 13.25 x 13.5in (33.65 x 34.29cm)
When Closed: This artwork features a combination of oil over gouache & egg tempera, adorned with industrial enamel on a wood panel encased in an exquisite 18ct gold leaf frame. The panel is hinged on a vintage cherry wood frame that has been meticulously hand-waxed. The key was hand crafted by the artist in bass, copper and gold with a gold heart medallion.
When Open: It reveals an opulent display of 18ct gold leaf, a maple leaf from Washington Square Park, and a vintage locker tag from Grand Central Station.
Under The Lid, When Open: Encased under the painting, “the lid when open” in a layer of paraffin wax, are a delicate blue jay feather from Hurricane Creek Ranch in Montgomery, Texas, a vintage gold coin, a vintage sugar spoon, and a copper crucifix and a your turn, my turn coin flip zinc coin.
This painting not only captivates with its intricate elements but also serves as a complex puzzle, concealing a hidden treasure awaiting discovery in the heart of Texas. Each item, its placement, order and relate to the painting and its title reference an included is a riddle with a map in Latin for the owner to solve.
Yes, there is a treasure if solved.
Continuing his series of monumental works “These Colors Taste Like Music: Opera Series” highlighting paintings and works on paper created by Santoré in 2021 and continuing through 2023.
Santoré introduces to the fore his distinct visual vocabulary of high impact visual gestures, complex colour systems, and allusions which brings into focus the incisive mind at the heart of Santoré’s multifarious pursuits through which he has mined a range of cultural, political, art historical, and fantastical subjects.
Using brushwork, light, and balance, Santoré captures moments within his personal history. These works primarily originate from within themselves, oil paint, oil stick, military and industrial enamels on cotton rag mounted to Belgian linen.
These monumental and large scale compositions center on ethereal, gestural figures within the energy of expansive, disparate colour filled urban landscapes.
While some appear more clearly, other figures are defined by lyrical swathes of paint suggesting a face, the outline of a body, intertwined within tidal flows of shoreline currents, the sounds of the city and the inner voice of the artist.
Robert purposefully leaves the origin, gender, and raison d’être of the forms within his paintings up to interpretation, allowing the viewer to step into his world, yet form their own reading of his work.
The resulting powerful works vibrate with energy, emotion and movement both in nature and media.
Monumental Word Paintings
The use of words and text in twentieth century art can first be traced back to cubist painters such as Georges Braque and Pablo Picasso who added letters and words, painted and collaged, into still lives.
Playing with language was also central to Dada artists who left an important legacy with their radical, often humorous use of words.
The dadaists as well as the 1960’s pop artists, Jasper Johns, Robert Rauschenberg, Warhol, Ed Ruscha and the monumental large scale works by James Rosenquist are all influential inspirations to Santoré and his use of words in an ambiguous and playful way could be seen as an expression of that influence.
Santoré plays with language in his text pieces, using devices such as onomatopoeia (a word that sounds like its meaning), puns, alliteration (a phrase or series of words where the first or second letter is repeated), and contrasting meanings.
Many of his early works such as FAMOUS (1988) depict single words in a strong typographic format or font. A more brooding atmosphere emerges in the later series, HIGH YIELD JUNK BOND (1989), which illustrates the words overlaid with imagery recalling declining Southern California industrial complexes.
“I’ve made paintings from verbatim with words from lyrics in music or certain sections of books. Of course the words use come from every source. Sometimes they come from a conversation in a podcast and sometimes in one on one conversations, or things see on the street. I’ve had ideas come to me literally in my sleep, on the subway, or while sitting in the lineup surfing. I tend to lean into these ideas and on blind faith feel obliged to use.”
Other works such as FITS & STARTS (2019), FAST FOOD (2021) & PÃPƏL NUNCIO (2022) reference advertising while setting the text against iconic abstraction of cold war and space race era imagery Santoré witnessed as a child of a military family during the Vietnam War. His keen interest in the Apollo Moon missions as a child resonates as well as his introduction to renaissance masterworks retooled and germane to current commercial and social media trends.
“FITS & STARTS” 60 x 216in (152.4 x 548.64cm) Oil, oil stick, military & industrial enamels, aluminum shapes on birch panel with micro-layer clay ground
NYC NYC NYC dropping soon
Preview online and avaliable on Amazon and Monarch Publishing soon.
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