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Paul Robbert Slide Titles
Paul Robbert is Professor Emeritus of Art at Western Michigan University. He established the printmaking and papermaking programs while at Western. Through the years he has been active as a painter/printmaker exhibiting extensively and receiving numerous awards and prizes. Artist in Residencies include: oxbow, Saugatuck, Michigan; Columbia College in Chicago; the Jan Van Eyke Akademie in the Netherlands; the Museum of Moli Paperere del Capellades, Barcelona. Exhibitions include Boston Museum; Brooklyn Museum; Sookmyung Women’s University, Seoul, South korea; Detroit Institute of Art; San Jose Institute of Art; University of Alabama, Art Museum; Wichita State University; University of Michigan Art Museum; Battle Creek Museum; grand Rapids Museum; Kalamazoo Institute of Art; Hackley Museum, Muskegon; Midland Center for the Arts, Michigan and others too numerous to list. His work is included in many public and private collections throughout the United States and Abroad. Appointments may be arranged by calling 269-382-1535 Artist Statement I have been working in painting and printmaking as an active artist since the late fifities. In the early seventies, my interest turned to papermaking and developing innovative techniques as I explored pulp as an art expression. My grounding as a painter/printmaker has easily translated into my image making on paper. I have been intrigued with the flexibility and directness offered by this medium. Because pulp can be moved around directly by hand, a brush is not necessary. This allows for maxiumum flexibility in whichforms and different |
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| surface effects are achieved by techniques such as spilling or splashing with thick or thin mixtures. Pulp can be manipulated to create ragged (soft) or hard edges, or, by the use of poured washes of color it can be made to ooze and bleed into surrounding areas. Further, texture and overlapping of specially formed shapes (stenciled, modeled, molded, etc.) can be incorporated into the work at any stage. Other materials can be embedded in the pulp at any time. All this allows for a sense of controlled freedom.
In many ways, working with this medium solves a number of issues I see as intrinsic to painting. The immediate fusion of process with imagery is of particular importance for me. My imagery involves the use of both abstract elements and suggestions of the pictorial. |
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