Dave Rogers

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200 Years in the Making, 2005 Traditional Chinese Papercutting 120 X 150 Cm © Daves Studio
daffodils, 2006 Oil On Canvas 40 X 50 Cm © Daves Studio
Waterlillies at Wuyi, 2006 Oil On Canvas 75 X 110 Cm © Daves Studio
Wasted, 2007 Oil Waste On Canvas 50 X 60 Cm © Daves Studio
Self, 2007 Digital Print 50 X 60 Cm © Daves Studio
Village Shop, 2004 Photography 8 X 10 In © Daves Studio
Call me Joe, 2006 Photography 8 X 10 In © Daves Studio
Small Bistro, 2006 Oil On Cavas 50 X 60 Cm © Daves Studio
Fishing Village 1, 2006 Oil On Cavas 60 X 50 Cm © Daves Studio
Gold Fish, 2007 Oil On Cavas 60 X 50 Cm © Daves Studio
Quick Facts
New York
Birth year
Lives in
Works in
Wuyi University
SUNY Old Westbury NY, 2005, B. A. Visual Arts
mixed-media, pop, installation, arts-educator, landscape, studio-lofts, photography, conceptual, gallery, exhibition/performance, sculpture

 David Rogers was raised in New York. His earliest art influence was a book of sketches done by his mother. Growing up he was fascinated by the paintings of Pollack, Monet, and de Vinci. In order to help him learn more about his interest his mother would buy Dave color-by-number paintings of great artist. It was these small paintings that inspired Dave's work today. Other influences include Duchamp, Mac Adams, Matisse and other less well-known artist's friends. Dave attended S.U.N.Y. College at Old Westbury in New York before joining the Army in 1990. He received medical retirement from the Army in 2003 and returned to Old Westbury where he received his B.A. with Honors in Visual Art. 

 When asked why he became an artist, Dave replies, "I have always been an artist. I love the fact that art has no boundaries and anything is possible. I can also learn a great deal about the world through the history and the future of art, and this is my preferred way to make discoveries about my own or other cultures.

 I am awed by the mystery of how creation occurs and because of this I am able to capture the history of people through the unspoken stories of the world around them. I derive great joy from presenting within my artwork statements which characterize my personal views of the turmoil within society. Hypocrisy and the duality of all things such as male/female, ones light side versus the dark side, etc., are symbolized throughout the imagery. The loss of education and increased ignorance, intolerance and hatred throughout our global society is of great concern to me.

 Red, Yellow and orange used in my paintings represent fire. Fire plays a dual role; it is both destructive and cleansing. The onlooker may decide which role is appropriate. My emotional distress, both personally and for society overall, come from my own battle with Multiple Post Traumatic Stress Disorder in forms of suppressed emotions from my childhood and personal experiences in the military and my journey through different cultures of the world is represented by the blue undercoating.

 Painting is my key to the answers, my vision to the future, and my record of the past. I capture not just the feelings, but the emotions of the story with color and brush strokes. The paintings themselves are painting in a Color-by-Number outline. Looking at the world in a child's way, with uncertainty and bright eyed. The imperfections in the paintings represent dual aspects, as a child's shaky hand or as a representation of the imperfections of the world; the viewer can make a decision for what it means to them.

 Even though the story may be thought out in advance, the painting does not start until the choosing of the brush. Each painting is created using only one brush. Once the right brush has been selected, all other brushes are put aside, so then the process can begin in creating the feel behind the story. In order to maintain the feel of uncertainty that runs in our lives, the paint is mixed not on the pallet, but on the canvas itself, creating the effects through layering the colors over and over.

 Dave's work is a mixture of Eastern and Western Art he calls Eastern Modernism. He started this form of art after visiting China in 2004. While there he discovered the ancient and demanding Chinese art of paper cutting and line drawing. On his return he began making connections between this craft and his years as a soldier. The results of this unusual connection have been very beautiful two and three dimensional metaphors for the importance of time and the fragility of life and democracy.

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