robert solomon

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QTFL001, 2015 Shellac Ink On Paper 22 X 30 X 1 Inches © 2015
QTFL002, 2015 Ink, Aniline Dye On Paper 22 X 30 X 1 Inches © 2015
QTFL003, 2015 Ink, Dye On Paper 22 X 30 X 1 Inches © 2015
QTFL004, 2015 Ink, Dye, Gesso, Bleach, Inkjet Print On Paper 22 X 30 X 1 Inches © 2015
QTFL005, 2015 Ink, Bleach,Dye, Inkjet Print On Paper 22 X 30 X 1 Inches © 2015
QTFL007, 2015 Dye, Pigment Inkjet Print On Paper 22 X 30 X 1 Inches © 2015
QTFL008, 2015 Ink, Dye, Bleach, Pigment On Paper 30 X 22 X 1 Inches © 2015
QTFL009, 2015 Ink,Dye, Gesso Over Paper 22 X 30 X 1 Inches © 2015
QTFL010, 2015 Pigment, Clay, Chalk,Dye On Paper 30 X 44 X 1 Inches © 2015
QTFL011, 2015 Wax On Paper 22 X 30 X 1 Inches © 2015
QTFL014, 2015 Wax, Dye, Pigment, Bleach On Paper 30 X 44 X 1 Inches © 2015
"trefoil", 2015-2016 Mixed Media On Paper Mounted On Canvas 30 X 72 X 2 Inches © robert solomon
"untitled grid1", 2016 Mixed Media On Plaster On Canvas 30 X 48 X 2 Inches © robert solomon
abstract diptych 1a5, 2017 Mixed Media 60 X 30 X 2 © 2017
Quick Facts
Lives in
Works in
University of California, Los Angeles, architecture
Tyler School of Art, Temple University, Philadelphia, PA, sculpture
Pennsylvania State University, State College, PA, arts and design
Representing galleries
inliquid philadelphia
mixed-media, installation, sculpture
recent statements

My artistic process has been a journey from a conceptual bricoleur of kinetic installations into the physical studio of substance (wax, oil, water) and support. Where the former approach relied on much thinking and planning, the studio work requires a disengagement of self conscious thinking and a surrender to a faster paced physical activity.

My recent work uses paper and unconventional water based "paints", some digital imagery, occasionally bleach and wax. There is an element of conceptual game playing running through most of my work. An interest in scientific diagrams, map making, pattern and symmetry act as an entry point to my process of painting. When ideas, rulings, and initial guidelines become subsumed into the accretion of crust and puddles, and the painting becomes "something other" the pleasures and frustrations of accident and intention interplay until completion.

The "broken pattern" works exhibit an experimental "alchemical" use of metal powders, chalks, clay, graphite and water on paper. I often think of the works painting themselves as the water leaches out of the mixture, staining the paper as it dries between sessions. The "fingertree" diptychs  were generated from manipulating a photograph of an earlier painting in Photoshop and over painting the digital prints with analine dye and natural stain.  The gouache based paintings on wrapping paper were begun at an artist residency in Italy last spring. Pattern making and unmaking were facilitated by the unique translucency of zinc white. 

The "vitrerie" series combines a mixed association of digital imagery, antique stained glass (vitrerie) diagrams, dyed paper (silver gray analine), bleach and wax. The bleach solution reacts like an eraser while cold pigmented wax is applied to select areas.

My new work will begin to leave the bounds of the paper format while continuing to reach further into novel concepts of pattern, memory and collage.

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6th 2017 ArtSlant Prize Showcase Entry


robert solomon abstract diptych 1a12