For the Joy of Light
Documenting Robert Singleton's work with the highest quality color images. Paintings from 1964 - 1973 “The Florida Years” to “Screamer Mountain” 1973 -1978 to the remote mountains of West Virginia. This elegantly designed eighty page book details the metamorphic change which took place in Robert’s work. ~~~ Celebrating Robert's 80th year and over five decades of his creativity.
Documenting Robert Singleton's work with the highest quality color images.
Paintings from 1964 - 1973 “The Florida Years” to “Screamer Mountain” 1973 -1978 to the remote mountains of West Virginia. This elegantly designed eighty page book details the metamorphic change which took place in Robert’s work.
~~~
Celebrating Robert's 80th year and over five decades of his creativity.
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Robert Singleton<br />
<strong>For</strong>The<strong>Joy</strong>Of<strong>Light</strong>
TheKey...<br />
AVisualLanguage<br />
Influences<br />
Horizon/HorizontalLine...<br />
Likemostartists,myearlyworkhadbeengreatlyafectedbyinterpretations<strong>of</strong><strong>the</strong>visualworldaroundme.Themostimportant<br />
influenceIdiscoveredearlyinmylife/work,<strong>the</strong>onecomponentthatwouldappeartimeaftertime,overdecades,was<strong>the</strong>Horizon<br />
line<strong>of</strong><strong>the</strong>Midwest,and<strong>the</strong>AtlanticOcean.Thislinespoketomeonaverypersonalandemotionallevel.Idescribeditas<strong>the</strong><br />
divisionlinebetween<strong>the</strong>skyand<strong>the</strong>earth.(*1)<br />
Isoonaddedano<strong>the</strong>rcompositionalelementto<strong>the</strong>work:acircle.Onatripto<strong>the</strong>farm lands<strong>of</strong>Pennsylvania,Ihadtakena<br />
number<strong>of</strong>35mm slides.WhenItook<strong>the</strong>sepictures,Iwasstandinginalargefieldlookingwest,justas<strong>the</strong>sunhaddropped<br />
behindadistantmountain.Theoverallightwasdim.ImadewhatIthoughtwasacompensationwith<strong>the</strong>camerafor<strong>the</strong>low light.<br />
Indoingso,Iopened<strong>the</strong>aperture<strong>of</strong><strong>the</strong>cameraal<strong>the</strong>way.<br />
Circle...<br />
BackinFlorida,whenIlookedat<strong>the</strong>seslides,Idiscoveredthatafew <strong>of</strong><strong>the</strong>slidesappearedtobeflawed.Therewasahalo,or<br />
circle,superimposedover<strong>the</strong>landscape.Atfirst,Ithought<strong>the</strong>slideswereruined.Butafterstudying<strong>the</strong>m forsometimea<br />
revelationoccuredtome.Theslides<strong>of</strong><strong>the</strong>fieldwith<strong>the</strong>darkmountainridgebeyondwerelight-struck,adifusedhalocircling<strong>the</strong><br />
image.Irealized<strong>the</strong>seslideswereaportrayal<strong>of</strong><strong>the</strong>reality<strong>of</strong><strong>the</strong>waywesee.Ibecameawarethatourvision,interms<strong>of</strong><br />
focusingonaspecificobject,isverylimited.First,ourentireperipheralvisioniscontainedwithinacircle.Second,whenyoulookat<br />
anobject,<strong>the</strong>eyeautomaticalyfocusesdowntoalmostapinpoint.<strong>For</strong>example,ifyouweretolookatanapplesitingonabook<br />
and<strong>the</strong>bookisonatable,al<strong>the</strong>objectsarewithinyourperipheralvision.However,ifyouweretolookatjust<strong>the</strong>apple,<strong>the</strong>apple<br />
is<strong>the</strong>onlyobjectthatisinsharpfocus.Yourentireperipheralvisionbecomesblured.(*2)<br />
Asidefrom thisvisualphenomenon,overtime,Ibecamemoreinfatuatedwith<strong>the</strong>circleitself.Ibegantoputal<strong>the</strong>subject<br />
mater<strong>of</strong>apaintinginsidealargecircle.Iwouldpickapointinside<strong>the</strong>circlet<strong>of</strong>ocusonandpaint<strong>the</strong>subjectwithsharpness,in<br />
focus.As<strong>the</strong>eyemovesfrom thatfocalpoint,across<strong>the</strong>canvas,<strong>the</strong>paintedimagewoulddifuse.Thefur<strong>the</strong>r<strong>the</strong>eyemovedfrom<br />
thatfocalpoint,<strong>the</strong>moreabstract<strong>the</strong>paintingwouldbecome,ameresuggestion<strong>of</strong><strong>the</strong>actualsubject.<br />
Thecirclebecame,forme,<strong>the</strong>symbol<strong>of</strong>infinity,aneverendingline.At<strong>the</strong>sametimealthatwaswithin<strong>the</strong>circlewas<br />
contained.
Thehorizontallineand<strong>the</strong>circlebecamepart<strong>of</strong>myvisualvocabulary,avocabulary<strong>of</strong>imagecomponentsputoncanvas.Artists<br />
sometimesrefertothisindividualvocabularyas<strong>the</strong>signature<strong>of</strong><strong>the</strong>artist'swork,arecognizablestyle,resultingfrom <strong>the</strong>artist's<br />
subjectiveinterpretation<strong>of</strong>subject,colorandlight,combinedwithapplicationthroughbrushwork,etc.Thesearejustafew <strong>of</strong><strong>the</strong><br />
componentswhich,whencombined,createavisualimageoncanvas.Thesubjectiveorindividualuse<strong>of</strong><strong>the</strong>secomponentscreates<br />
<strong>the</strong>individualartist'sstyleorsignature.Thissignatureiseasilyrecognizable.OnceyouhaveseenaRembrandt,aVanGogh,a<br />
Warhol,oraJasperJohns,andrecognize<strong>the</strong>artist'svisualvocabulary,from thatpointon,youinstantlyrecognize<strong>the</strong>seartists’<br />
works.Whatal<strong>of</strong>thisisleadingtois<strong>the</strong>definition<strong>of</strong>certaintermsthatarebothspokenandvisual.<br />
Thesetermsarepart<strong>of</strong>thisvisualvocabulary.<br />
Onecansaythatalvisualartisdividedintotwobasiccategories.Theimageryisei<strong>the</strong>rOrganicorGeometric.Ofcourse,<strong>the</strong><br />
twocanbecombined,although<strong>the</strong>yremainseparateelementswithin<strong>the</strong>work.<br />
Organic...<br />
Organicmeans<strong>the</strong>subjectmaterislivingorhaslived.Thiscouldrangefrom aportraittoalandscape,from lichenonarockto<br />
<strong>the</strong>celstructure<strong>of</strong>anamoeba.Non-livingsubjects,suchariverrockortidalsandbars,arealsoorganic.Whatal<strong>the</strong>seorganic<br />
subjectshaveincommonisorganicshapes.Theyarenatural,flowing,spontaneousandrandom.Haveyoueverstoodonariver<br />
bankandlookedat<strong>the</strong>polishedpebblesunderyourfeet?Notwowilbeexactly<strong>the</strong>same,yet<strong>the</strong>yalhaveincommonthisorganic<br />
shape.Thereisauniversaltruthto<strong>the</strong>seshapes,alappearingtoberandom.Notwohumans,exceptfortwins,appearexactly<strong>the</strong><br />
same,notwotreesorrocks,yetwerecognize<strong>the</strong>m in<strong>the</strong>broadsenseasbeing<strong>the</strong>same.(*3)<br />
Geometric...<br />
Geometricis<strong>the</strong>opposite.Man-madeobjectssuchasahouse,atelephonepole,afence,acaroranentirecity,aregeometric.<br />
Curiously,al<strong>the</strong>segeometricshapesaremadebymanwithmanmadetools.Todraw astraightlineyouusearuler.Todraw a<br />
perfectcircle,youuseacompass.Manmadetoolscanperfectlyreproduceorduplicateageometricshape.Asaresult<strong>the</strong>y're<br />
neverrandom orspontaneous.Theopposite<strong>of</strong>adrawnsquareis<strong>the</strong>natural,yetuniversalshape<strong>of</strong>ariverrock.(*4)<br />
Thecombination<strong>of</strong>organicandgeometricshapesinapaintingmightbealandscapewitharow <strong>of</strong>telephonepoles,ora<br />
farmhousein<strong>the</strong>middle<strong>of</strong>apasture.Ano<strong>the</strong>rcombinationcouldbeaportrait<strong>of</strong>apersonsitinginachairwithawindowin<strong>the</strong><br />
background.<br />
WhatIhavebeendescribinginwritingispart<strong>of</strong><strong>the</strong>visuallanguage<strong>of</strong><strong>the</strong>artist.Simplyput,givinguniversalvocabularyto<strong>the</strong><br />
visualimagesinapainting.<br />
Onanumber<strong>of</strong>occasions,whileteaching,Ichalengedmystudentswith,“Is<strong>the</strong>reathirdingredientbeyondorganicand<br />
geometricinart?”
Iwouldnow liketotakethislanguage<strong>of</strong>visualimagesonestepfur<strong>the</strong>r.Inthislanguage<strong>the</strong>reisacorelation<strong>of</strong>termsand<br />
imagesusedtotranslateorganicandgeometricintoemotionalandintelectual.<br />
Iam <strong>of</strong>amindtothinkthat<strong>the</strong>emotionalportion<strong>of</strong><strong>the</strong>humanpsycheispart<strong>of</strong>ournaturalstate.Wearebornwithfivenatural<br />
emotions:ThefirstisFear,fear<strong>of</strong>faling,fear<strong>of</strong>aloudnoise.Anyfearbeyond<strong>the</strong>setwoislearnedthrough<strong>the</strong>intelect.Theo<strong>the</strong>r<br />
fournaturalemotionsare:Love,Grief,AngerandJealousy.<br />
In1968,whileteachingat<strong>the</strong>OrlandoMuseum <strong>of</strong>FineArts,Isaw StanleyKubrick'sfilm,"2001:ASpaceOdyssey,"for<strong>the</strong>first<br />
time.Theverynextday,Irequestedthatalmystudentsseethisfilm.<br />
Alow metodescribemyreactionandinterpretation<strong>of</strong><strong>the</strong>first20minutes<strong>of</strong>film.At<strong>the</strong>opening,<strong>the</strong>entirelandscapeandlife<br />
formspresentwerepurelynatural,ororganic.Thisportion<strong>of</strong><strong>the</strong>film wassubtitled"TheDawn<strong>of</strong>Man."Therewasamarked<br />
absence<strong>of</strong>inteligence.With<strong>the</strong>lifeformsthatwerepresent;ahigherform <strong>of</strong>apes,<strong>the</strong>rewasamarkedpresence<strong>of</strong>emotion;<br />
primarilyfear<strong>of</strong>predators.Asthisopeningsequence<strong>of</strong><strong>the</strong>film reacheditsclimax,inteligence,inanalmostmysticalway,madeits<br />
presenceknownin<strong>the</strong>form <strong>of</strong>agiantmonolith.Whenthismonolithappeareditwasinstarkcontrastto<strong>the</strong>totalenvironment.The<br />
monolith'slinesandtextureswereflawlessincontrastto<strong>the</strong>roughrockyterain.Myresponse,and<strong>the</strong>apes,wasthatthismonolith<br />
wasamysticalpresence. Emotionandintelectarepart<strong>of</strong><strong>the</strong>humanpsyche.Theyaretwokeyingredientsthatseparateusfrom<br />
<strong>the</strong>naturalworld.Within<strong>the</strong>psyche<strong>the</strong>twoworksidebyside.Aconsciousdecision,by<strong>the</strong>intelect,canbebasedin<strong>the</strong>emotions.<br />
Whenyouareangry,emotional,youmayintelectualysaythingsyoudon'tmean.Youremotionalresponsetoabeautifulsunset<br />
maybe<strong>the</strong>inspirationfor<strong>the</strong>intelecttowriteapoem.Psychologyteachesthatoneshouldnotmakeimportantdecisionswhile<br />
wroughtwi<strong>the</strong>motion.(*5)<br />
Themonolith,withoutquestion,wasinteligence,knowledge,perhapsevenGod.Ifelt,itwasthatmomentinprehistorictime<br />
when,through<strong>the</strong>monolith,<strong>the</strong>apesstooderectandreceived<strong>the</strong>abilitytoreason,thusbecoming<strong>the</strong>ancestors<strong>of</strong>alhuman-kind.<br />
Human-kindwascreatedwhenitreceivedintelect.Purelyfor<strong>the</strong>sake<strong>of</strong>thisdiscussion,Iwilequateorganicimageswith<strong>the</strong><br />
emotions.Anartist,whenwitnessing<strong>the</strong>sunset,hadanemotionalresponseand,inturn,painted<strong>the</strong>pictureashisemotional<br />
interpretation.The painting<strong>of</strong>asunset,whichisorganic,maycauseapoet'semotionalresponsetowriteasonnetabout<strong>the</strong><br />
painting.<br />
Now wewildiscuss<strong>the</strong>intelect.Organicis<strong>the</strong>opposite<strong>of</strong>geometricand,folowingthatlogic,emotionis<strong>the</strong>opposite<strong>of</strong><br />
intelect.Organicandemotionareinterchangeable.Geometricandintelectarealsointerchangeable.Istatedthatageometric<br />
imagecouldbeahouse.Whatcreated<strong>the</strong>designfor<strong>the</strong>houseandbroughtthatdesignintoreality?Ahumanandhisintelect.<br />
Let'sreducealthisterminologytosimpleimages.Ifoneweretodraw astraightlinewitharulerononeside<strong>of</strong>apiece<strong>of</strong>paper,<br />
andon<strong>the</strong>o<strong>the</strong>rsidedraw awaftedlinefreehand,whichwouldbe<strong>the</strong>organic/emotionalstatement?Whichwouldbe<strong>the</strong><br />
geometric/intelectstatement?(*6)
Theanswerisobvious:Thenaturalasopposedto<strong>the</strong>engineered.<br />
However,when<strong>the</strong>twoarecombined,athirdelementisintroduced.Whenanaturalimage,organic/emotional,isplacedin<br />
juxtapositionto anengineered,geometric/intelectualshape,byvirtue <strong>of</strong><strong>the</strong>irinnatediferencesacontrastiscreated.Each<br />
emphasizes<strong>the</strong>o<strong>the</strong>rbecause<strong>of</strong><strong>the</strong>irdiferences.Atensioniscreated,resultingfrom opposites.Yet,<strong>the</strong>ycomplementeacho<strong>the</strong>r<br />
bymaking<strong>the</strong>hard-edgedstraightlinemorerigidwhenplacednextto<strong>the</strong>natural,waftedline.Thenaturallineappearsmorenatural<br />
whenplacednextto<strong>the</strong>hardedge<strong>of</strong><strong>the</strong>straightline.Theintelectcontrastedwith<strong>the</strong>emotionalandviceversa.<br />
Thissimpleprincipleappliestolife.Byvirtue<strong>of</strong>ourdiferences,wecomplementeacho<strong>the</strong>r.Byvirtue<strong>of</strong>contrast,wehelpo<strong>the</strong>rs<br />
toshine.Whenwearediferentfrom eacho<strong>the</strong>randwestandsidebyside,weeachshinemorethroughcontrast.Weare<br />
individuals,notclones.Thereisnojudgmentmade<strong>of</strong>oneor<strong>the</strong>o<strong>the</strong>rbeingbeter,moreimportant.Onedoesnotoutshine<strong>the</strong><br />
o<strong>the</strong>r.Asaresult,abalanceiscreated,aharmonybetweencontrastingdiferences,creatingawhole.Toge<strong>the</strong>r,weshinebrighter<br />
thanwhenwestandalone.<br />
PerhapswhatIhavejustbeendescribingis<strong>the</strong>ideal.Evenwithin<strong>the</strong>humanpsyche,manytimes,<strong>the</strong>reisaconflictbetween<strong>the</strong><br />
intelectand<strong>the</strong>emotions.Dependingupon<strong>the</strong>circumstances,onewiloverpower<strong>the</strong>o<strong>the</strong>r,creatingdiscordandconfusionand,at<br />
o<strong>the</strong>rtimes,tension,one-sidednessand<strong>the</strong>feeling<strong>of</strong>beingout<strong>of</strong>control.Artistsrecognizethisbalanceandtensioninboth<strong>the</strong><br />
naturalworldand<strong>the</strong>realm <strong>of</strong>humanbehavior.Theyalsorecognizethisbalanceandtensionwithin<strong>the</strong>mselves.Inapainting,<strong>the</strong>re<br />
mustbeabalancebetweentensionandcontrastcreatingharmonyinorderforittospeakasawhole.<br />
Inordertodefuseanyone-sidednessinthisdiscussion,Iwouldliketo<strong>of</strong>erbriefly,<strong>the</strong>twosides<strong>of</strong><strong>the</strong>philosophicalcoin,intelect<br />
versusemotion.<br />
ReneDescartes[1596-1650],<strong>the</strong>Frenchphilosopherandma<strong>the</strong>matician,wentupintoacabinonamountaintoptoestablisha<br />
prioriknowledge,"Howdoweknowthatweexist?"Hecameupwith<strong>the</strong>Latinphrase,"Cogitoergosum.""Ithink,<strong>the</strong>refore,Iam!"<br />
Itwasconcludedfrom thisthatalrealknowledge,ortruth,comesfrom <strong>the</strong>intelect.Thephysicalsensespassinformationonto<br />
reasonand<strong>the</strong>intelectinterprets.<br />
BlaisePascal[1623-1662],<strong>the</strong>Frenchma<strong>the</strong>maticianandphilosopher,readDescartesand,inasense,saidnonsense!<strong>For</strong>him,<br />
humanswere<strong>the</strong>superiorbeings<strong>of</strong>creationandwhatseparated<strong>the</strong>m from <strong>the</strong>rest<strong>of</strong>creationwas<strong>the</strong>irabilityt<strong>of</strong>eelandbe<br />
aware<strong>of</strong>that.Passionwas<strong>the</strong>authorityoverreason.Wefeltfirst,<strong>the</strong>nwedevelopedreasontosupportthatpassion.<br />
Note:Theabovearemerethumbnailsketchesbyanamateurwhoisindeedbiasedinfavor<strong>of</strong>Pascal.Pascalalsosaid,"Theheart<br />
hasreasonsthatReasondoesnotknow."
Intelect:Rigid,governedbyrules,left-brained,calculatedandknowledgeable.<br />
Emotion:Free,spontaneous,right-brained,natural,intuitive.<br />
Thisunderstanding<strong>of</strong><strong>the</strong>geometric/intelectand<strong>the</strong>organic/emotionwouldbecome<strong>the</strong>keytoalmywork,<strong>the</strong>hiddencodeto<br />
myvisualvocabulary.Asinlife,andon<strong>the</strong>canvas,<strong>the</strong>reisalwaysastruggletomaintainabalancebetween<strong>the</strong>emotionsand<strong>the</strong><br />
intelect.OncanvasIwouldtrytopush<strong>the</strong>setwoelementsto<strong>the</strong>irextreme.Iconsciouslysought<strong>the</strong>ultimatestatement<strong>of</strong><strong>the</strong><br />
intelectand<strong>of</strong><strong>the</strong>emotions,alwaysbyputing<strong>the</strong>twoincontrastwi<strong>the</strong>acho<strong>the</strong>r.<br />
Throughoutmyearlyandmid-paintingyears,Ialwaysremembered<strong>the</strong>chalengeIputtomystudents,"Couldyoudiscoverathird<br />
component,asidefrom <strong>the</strong>organicandgeometric?"Theanswertothisriddlehadalwaysbeeninside<strong>of</strong>me.Theorganicworldis<br />
<strong>the</strong>naturalworld<strong>of</strong>nature.Wehumans,asflesh,arepart<strong>of</strong>thatworld,transientfrom generationtogeneration,equalyafected<br />
by<strong>the</strong>naturalworld.Wearegovernedby<strong>the</strong>laws<strong>of</strong>thisnaturalworld.Inthatsense,wearenodiferentfrom anoaktree,subject<br />
todiseaseandage,subjectto<strong>the</strong>changingseasons,subjectto<strong>the</strong>naturalcycles<strong>of</strong>life.<br />
Clouds...<br />
In<strong>the</strong>mid-seventies,throughamysticaloccurence(IcalitmysticalbecauseIhavenoo<strong>the</strong>rexplanation)Imadeaconscious<br />
decisiontochange<strong>the</strong>course<strong>of</strong>mywork.“Isought<strong>the</strong>ultimatestatement<strong>of</strong><strong>the</strong>intelectand<strong>of</strong><strong>the</strong>emotions,alwaysbyputing<br />
<strong>the</strong>twoinjuxtapositionwi<strong>the</strong>acho<strong>the</strong>r.”(*7)IfeltIhadpaintedmyselfintoacorner,notwantingorknowinghow togoanyfur<strong>the</strong>r<br />
withthisdirection.Thiswas<strong>the</strong>changingpoint.IhadaskedmyselfwhatIrealywantedtopaint.Therecameananswerfrom out<br />
<strong>of</strong>nowhere,sosimplethatitstruckacordwithme...“Clouds.”<br />
Ididnotdiscardmyphilosophy<strong>of</strong>painting.Imerelyaddedano<strong>the</strong>rcomponent.However,cloudshavebecomemytruesignature.<br />
Tome,cloudsare<strong>the</strong>ultimateorganicforms.But<strong>the</strong>magicthatwasaddedtomyworkvia<strong>the</strong>cloudswas,andis,<strong>the</strong>play<strong>of</strong>light<br />
on<strong>the</strong>cloudsand<strong>the</strong>atmosphere.(*8)<br />
In<strong>the</strong>human,<strong>the</strong>reis<strong>the</strong>intelect,andal<strong>the</strong>componentsthatmakeupthatintelect;one<strong>of</strong>whichisreasonorfreewil.With<strong>the</strong><br />
humanintelectcomesknowledgeandpower.Weare<strong>the</strong>superiorbeings<strong>of</strong>thisplanet.Thatsoundsarogant.Wearearogant<br />
because<strong>of</strong><strong>the</strong>powerwehaveover<strong>the</strong>naturalworld,todestroyitortobeitscaretaker.<br />
To<strong>the</strong>casualobserver,<strong>the</strong>humanessence,asidefrom beingbiological,isintelectwi<strong>the</strong>motions,oremotionswithintelect.<br />
From thisessencecomes<strong>the</strong>capacitytocreate.Manhaseternalysought<strong>the</strong>answerto<strong>the</strong>riddle,"Arewemorethanbiological<br />
fleshwithamindthatcanthinkandreasonandmakechoices?
Ifyoulookto<strong>the</strong>arts,youmayfindananswer.Donotal<strong>the</strong>artsspeak<strong>of</strong>andto<strong>the</strong>humanspirit?Hereis<strong>the</strong>answerto<strong>the</strong><br />
riddle,<strong>the</strong>thirdcomponent<strong>of</strong>existence.Through<strong>the</strong>act<strong>of</strong>creation,<strong>the</strong>voice<strong>of</strong><strong>the</strong>Creator'sspiritspeaksto<strong>the</strong>spirit<strong>of</strong>al<br />
humankind.Thisvoicecanspeak<strong>of</strong>andto<strong>the</strong>emotionsandintelect,cancommunicateanintangiblecomponent<strong>of</strong>life,an<br />
intangiblecomponent<strong>of</strong>art.Itisintangibleins<strong>of</strong>arasthatcommunicationcannotbeheldortouchedwith<strong>the</strong>hand.But,itis<br />
recognizedby<strong>the</strong>soul.<br />
TheKeysCombined...<br />
Al<strong>the</strong>components<strong>of</strong>mywork,beginningwiththatdistantHorizon<strong>of</strong><strong>the</strong>mid-west,including<strong>the</strong>Circleorring,<strong>the</strong>hardedge<strong>of</strong><br />
<strong>the</strong>Squareand,lastbutnotleast,<strong>the</strong>Organic...CloudsCapturing<strong>Light</strong>.Al<strong>of</strong><strong>the</strong>seelementsarefoundinmyworkinoneform<br />
orano<strong>the</strong>r,from totalynon-objective(butalwayswithahint<strong>of</strong><strong>the</strong>secomponents)tomoodystudies<strong>of</strong>form andlight;from primal<br />
gasesrisingfrom adistanthorizonto<strong>the</strong>atmosphere<strong>of</strong>ahazysummerafternoon.<br />
Thecreativesoulisdiferentandpaysaheavypriceforthatdiference,generatinganinequityfrom <strong>the</strong>point<strong>of</strong>view<strong>of</strong><strong>the</strong>artist.<br />
Theveryrealpersonalhungerandsacrificecontainedin<strong>the</strong>creativeact<br />
becomesacommercialcommodity.<br />
Theartist'slifemademanifestoncanvasbecomesadecorativeaccessory.<br />
Isaman'sartsimplyano<strong>the</strong>rperson'sornamentaltrophy?<br />
Once,whenIwasin<strong>the</strong>home<strong>of</strong>awel-to-doatorney,Isaw asignon<strong>the</strong>wal."Hewhodieswith<strong>the</strong>mosttoys,wins."At<strong>the</strong><br />
timeIlaughed.That'sfunny,nottrue,butfunny.TheonlyreasonIremember<strong>the</strong>signatalisthatittroubledme.Thissame<br />
atorneyhadalargecolection<strong>of</strong>myworkhangingthroughouthishome.<br />
Yearsago,throughmyNew Yorkgalery,Iatemptedtoarangeabenefitartshow forDr.ElisabethKubler-RossandherAIDS<br />
BabyHospice.TheGaleryownerturnedmedownbecausehedidnotthinksuchashow wouldraiseanymoney."Peoplewould<br />
notbuyapaintingforsuchadepressingcause.Ifsomeonedidbuyapainting,<strong>the</strong>ywouldalwaysassociate<strong>the</strong>paintingwithAIDS.<br />
Noonewilinvestmoneyinanythingthatwilalwaysremind<strong>the</strong>m <strong>of</strong>,orbeassociatedwithpain."<br />
Are<strong>the</strong>owners<strong>of</strong>aVanGoghreminded,when<strong>the</strong>ylookathispaintings,<strong>of</strong>hisshortlife?Are<strong>the</strong>yreminded<strong>of</strong>how heendedit?<br />
Oris<strong>the</strong>work'ssignificancerecognizedonlyasafinancialinvestment?Perhapsin<strong>the</strong>politesociety<strong>of</strong>colectorsonedoesnot<br />
deliberateon<strong>the</strong>intimatelifebehind<strong>the</strong>creationshangingon<strong>the</strong>irwals.Yet,<strong>the</strong>imagesareadocumentation<strong>of</strong>itscreator's<br />
innermostthoughts.<br />
However,Irecognizethatalartmuststandonitsownmerits.Thelife<strong>of</strong>itscreatorisincidentalin<strong>the</strong>longrun.
Intimemymemorymayfailme,<br />
Intimememory<strong>of</strong>me.<br />
But,<strong>the</strong>paintingswilneverforget.<br />
Ihavehadafantasy...toseeal<strong>of</strong>mycreativeeforts<strong>of</strong>sixtyyears...linedupendtoend,underonero<strong>of</strong>.Itwouldbe<br />
cathartictobereunitedwithsuchabody<strong>of</strong>work.However,thiswouldbeanimpossibletasktoachieve.Many<strong>of</strong><strong>the</strong>workshave<br />
beenlost,stolen<strong>of</strong><strong>the</strong>wals<strong>of</strong>publicbuildingsordestroyedinfires.Somehaveevenbeennamedinpropertysetlements<strong>of</strong><br />
divorcesuits,asaresult,mysteriouslydisappearing.Stilo<strong>the</strong>rworkshavetraveled<strong>the</strong>globetodestinationsasfarawayas<br />
Australia,JapanandEurope.Asaresult,<strong>the</strong>reisaverylargebody<strong>of</strong>workthatislostorbeyondmyreach.<br />
<strong>For</strong>tunately,likemostartists,Iphotographedmyworkover<strong>the</strong>years,inordertomaintainapersonalrecord.Thishasalways<br />
beenin<strong>the</strong>form <strong>of</strong>35mm slides. ImustconfessIhavenotbeen<strong>the</strong>mostdiligentinkeepingthisphotographicrecord.Many<br />
paintingswereneverphotographed.Inaddition,<strong>the</strong>slidesdatingbackto<strong>the</strong>60'shavedeteriorated,fadedorhavemoldon<strong>the</strong>m.<br />
Stil,<strong>the</strong>reisagenerouscrosssection<strong>of</strong>workrecorded.<br />
Wel,myfantasyhascometrue.Thiscolectionisarepresentation<strong>of</strong><strong>the</strong>metamorphicchangewhichhastakenplaceovera<br />
period<strong>of</strong>sixtyyears.<br />
Thesepaintingsareadocumentation<strong>of</strong>thatvoyage.<br />
Enjoy<strong>the</strong>journey...Robert
(*1)Horizon/HorizontalLine<br />
(*2)Circle<br />
(*3)Organic<br />
(*4)Geometric
(*5)"2001:ASpaceOdyssey,"<br />
(*6)Organicis<strong>the</strong>opposite<strong>of</strong>geometricand,folowingthatlogic,<br />
emotionis<strong>the</strong>opposite<strong>of</strong>intelect.<br />
(*7)Theultimate<br />
statement<strong>of</strong><strong>the</strong><br />
intelectand<strong>of</strong><strong>the</strong><br />
emotions,alwaysby<br />
putting<strong>the</strong>twoin<br />
juxtapositionwi<strong>the</strong>ach<br />
o<strong>the</strong>r.<br />
Clouds ...Themagic<br />
thatwas added to my<br />
workvia<strong>the</strong>cloudswas,<br />
andis,<strong>the</strong>play<strong>of</strong>light<br />
on <strong>the</strong> clouds and<br />
atmosphere.(*8)
Fla-01
FLORIDA<br />
1964-1973<br />
TheFloridayearswereful<strong>of</strong><strong>the</strong>vitality<strong>of</strong>youth.Theworkswerespontaneous,sensuous,attimes<br />
reckles,constantlychangingandsearching,alwaysreachingbeyond<strong>the</strong>lastpainting,reaching<br />
beyondmyself.Yetcriticsdescribed<strong>the</strong>workas"mature,serious,asensitiveartist."Onlynow,with<br />
20/20hindsightdoIknow <strong>the</strong>ywere<strong>the</strong>necesarygroundworkfor<strong>the</strong>yearstocome,whenI<br />
believedthatmaturitywouldcome.<br />
Of<strong>the</strong>manyexhibitionsorcompetitions<strong>the</strong>workwassubmittedto,Iwasneverabletoout-gues<strong>the</strong><br />
critics,judgesor<strong>the</strong>public.IfIhadapersonalchoice<strong>of</strong>apainting,Ithoughtwasstrong,thatchoice<br />
nevermatched<strong>the</strong>JudgesorCriticschoice.Many<strong>of</strong><strong>the</strong>paintingswereridiculedby<strong>the</strong>public,<br />
describing<strong>the</strong>m as"somethingmychildcoulddo"or"somethingfrom asickmind."OnoneoccasionI<br />
sawaniratewomanverbalyattacking<strong>the</strong>judgeforgivingone<strong>of</strong><strong>the</strong>paintingsBestinShow.Shewas<br />
outragedthatsuch"trash"couldwinanyaward.<br />
AtthattimeIbelievedalArtwas,orshouldbe,auniversallanguagespeakingto<strong>the</strong>affirmative.That<br />
itwouldalwayscommunicate.Notsoandsadly....<br />
"ArthathanenemycaledIgnorance."<br />
BenJonson,1599
Fla-02
Fla-03<br />
Fla-04
Fla-05
Fla-06
Fla-07
Fla-09
Fla-10
Fla-11
Fla-12
Fla-13
Fla-14
Fla-15
Fla-16
Fla-17
Fla-18
Fla-19
Fla-20
Fla-21
Fla-22
Fla-23
Fla-24
Fla-25
Fla-26
FloridaImages:<br />
1966~1973<br />
Fla-01-DUNESI-1966-30"X42"-Oiloncanvas.<br />
TheFirstPaintingCreatedinFlorida.WonBestinShowat<strong>the</strong>firstsidewalkshoweverentered.<br />
Fla-02-DOUBLEENTENDREI-1967-42"X48"-Oiloncanvas.<br />
FirstandSecondplacewinnerinpainting.1967WinterParkSidewalkArtFestival.<br />
Fla-03–WANINGWINTER-1967-36"X50"-Oiloncanvas<br />
Fla-04-SPRINGHILLI-1967-72"X58"-OilonCanvas<br />
Fla-05-Untiled-1969-50"X60"-OilonCanvas<br />
Fla-06–Untiled-1969-40"X60"-OilonCanvas<br />
Fla-07-PENNSYLVANIASTUDY-1967-50"X60"-Oiloncanvas<br />
Fla-08-FOCUS-1968-50"X50"-Oiloncanvas.BestinShow1967,CocoaBeachArtFestival<br />
Fla-09-FOCUSI-1967-50"X50"-Oiloncanvas.<br />
Fla-10-FOCUS I-1967-50"X50"-Oiloncanvas.<br />
Fla-11-FOCUSIV-1967-50"X50"-Oiloncanvas.<br />
Fla-12-FOCUSV-1967-44"X50"-Oiloncanvas<br />
Fla-13-ALUMINUM CASTINGI-1968-36"X24"X4"-CastAluminum.<br />
Best<strong>of</strong>Show,Sculpture.1969WinterParkSidewalkArtFestival.<br />
Fla-14–RobertSingletoninfront<strong>of</strong>hisdisplayat<strong>the</strong>1969WinterParkSidewalkArtFestival.<br />
Fla-15-PRAIRIE-1968-60'x50"-Oil,Conte'andCharcoaloncanvas.<br />
Fla-16-AChangeI-1970-68"X72"OilonCanvas<br />
Pantedat<strong>the</strong>MacDowelColony-Peterborough,NewHampshire.<br />
Fla-17-Presing I-1970-68"X54"OilonCanvas<br />
Pantedat<strong>the</strong>MacDowelColony-Peterborough,NewHampshire.<br />
Fla-18–ColorLineI-1969-72"X72"OilonCanvas<br />
Fla-19-PresingI-1970-134"X68"OilonCanvas<br />
Fla-20-Untitled-1970-68"X132"-OilonCanvas<br />
Fla-21-Untitled-1971-60"x60"-OilonCanvas<br />
Pantedat<strong>the</strong>MacDowelColony-Peterborough,NewHampshire<br />
Fla-22-Untitled-1971-70"x60"-OilonCanvas<br />
Pantedat<strong>the</strong>MacDowelColony-Peterborough,NewHampshire<br />
Fla-23-UNTITLED-1972-60"X60"-Oiloncanvas.<br />
Pantedat<strong>the</strong>MacDowelColony-Peterborough,NewHampshire<br />
Fla-24-WINDOW -1972-60"X42"-Oiloncanvas<br />
Fla-25-UNTITLED-1972-84"X68"-Oiloncanvas.<br />
Pantedat<strong>the</strong>MacDowelColony-Peterborough,NewHampshire<br />
Fla-26-UNTITLED-1973-48"X80"-Oiloncanvas<br />
With<strong>the</strong>confidants<strong>of</strong>walkingform oneroom toano<strong>the</strong>r,Iwassetonapaththatwouldleadmeto"dropout,"literalyovernight.Mylife,withal<br />
thatencompasedasasuccesfulartistandteacherinFlorida,abruptlyended.Thefal<strong>of</strong>1973marked<strong>the</strong>end<strong>of</strong>anera.Iputmyhomeon<strong>the</strong><br />
market,resignedmyteachingposition,andmovedto<strong>the</strong>SmokeyMountains<strong>of</strong>NorthGeorgia.
SCREAMERMOUNTAIN<br />
Clayton,Georgia<br />
1973-1978<br />
Itwasin thisenvironmenton ScreamerMountain that<strong>the</strong> workpased through ano<strong>the</strong>r<br />
metamorphoses.From eclecticspontaneitytomysticalmeditations,<strong>the</strong>rewasapronouncedpresence<br />
<strong>of</strong>balance,orderandlightin<strong>the</strong>newwork.Themysticalsubstance,anilusion,being<strong>the</strong>unknown<br />
source<strong>of</strong>lightwithin<strong>the</strong>painting.<br />
"MountainsAreSymbolicMeetingPlacesBetween<strong>the</strong>Mundaneand<strong>the</strong>SpiritualWorld."<br />
AlanHovhanes
Ga-01
Ga-02
Ga-03
Ga-04
Ga-05
Ga-06
ScreamerMountainImages:<br />
Clayton,Georgia<br />
1973~1978<br />
Ga-01–PRIMAL–68”x110”–OilonCanvas<br />
Ga-02-COSMICSUSPENSION I-68"X110"OilonCanvas<br />
Ga-03-FIRSTLIGHT-1975-68"X110"-Oiloncanvas<br />
Ga-04-CONTINUM I-1976-68"X72"OilonCanvas<br />
Ga-05-COSMICSUSPENSIONIV-68"X84"OilonCanvas<br />
Ga-06–BIGJACK-68"X84"OilonCanvas
Pastels:<br />
ScreamerMountainandWestVirginia<br />
1974-1980<br />
Al<strong>the</strong>sesworksare32"X40"on100%ragboard.ThePastelswerenumberedasan<br />
alternativetobeingnamed.
WESTVIRGINIA<br />
1978-Present<br />
Ihave<strong>of</strong>tensaidthatmyworkissimplyadocumentation<strong>of</strong>mysoul'sjourneyinsearch<strong>of</strong>that<strong>Light</strong>.<br />
"Anoutwardandvisiblesign<strong>of</strong>aninwardandspiritualgrace."
SunburstI
StepWindow
Untitled
Al<strong>the</strong>WorldisaStage
LuminousSky
Untroubled
Transfigured
StepWindow
In<strong>the</strong>summer<strong>of</strong>2012aftermore<strong>the</strong>natenyearhiatusfrom<br />
painting,Irediscovered<strong>the</strong>purejoy<strong>of</strong><strong>the</strong>creativeemergence....<br />
Atthisnew juncture<strong>of</strong>mylife,Iam backtopaintingfultimeand<br />
pleasedtoshare<strong>the</strong>results<strong>of</strong>thisnew beginning.
InRobertSingleton‘swords...<br />
RecentlyIwasin<strong>the</strong>process<strong>of</strong>updatingmyrésuméwhenitocuredtomethatarésuméis<br />
asimpersonalas<strong>the</strong>paperitiswrittenon.Itisalot<strong>of</strong>datesandevents.Theseevents,<br />
however,are<strong>the</strong>results<strong>of</strong>dreams,desires,andpassionswhichinrealityisamoreacurate<br />
portrait<strong>of</strong>whom thispersonis.Inrecentyears,<strong>the</strong>whoandwhyhasbecomefarmore<br />
importantthan<strong>the</strong>what.<br />
Icanhonestlysay...atthispointinmylife<strong>the</strong>egocentricdriveforartisticrecognitionhas<br />
wi<strong>the</strong>red.AsIhavematured,Ihavecometounderstandthatperhapsrecognition<strong>of</strong>selfby<br />
selfis<strong>the</strong>substances<strong>of</strong>actualityandau<strong>the</strong>nticity.<br />
Onthisjourneycaledlifeaswebecomeolderandmoreaccepting<strong>of</strong>ourselves.Theneedto<br />
proveorvalidateourexistencethrougho<strong>the</strong>rpeopleisnolongerconsequential.Althat<br />
mattersis<strong>the</strong>truth<strong>of</strong>whom weareandlovingthatpersonalongwithourfelowhuman<br />
beingsunconditionaly.Ipersonalyfeel<strong>the</strong>singlebeneficialmotivation<strong>of</strong>lifecentersupon<br />
<strong>the</strong>compasion<strong>of</strong><strong>the</strong>connectionswesharewithourfelowhumans.<br />
RobertSingleton’slifejourneyisreflectedinhisart...Theeventsthatcausedatransformation<strong>of</strong><br />
both<strong>the</strong>artand<strong>the</strong>artist...From AbstractExpresionism toatranscendentexpresion<strong>of</strong><strong>Light</strong>.
FearNoEvil
Apparition
Silence
Given
LucidHorizon
Summon
VeiledAura
Aspect
OldSoul
Obscure
Whisper
Encore
LuminousI
WestVirginiaImages:<br />
1978~Curent<br />
Al<strong>the</strong>WorldIsAStage-1990-50"X60"-OilonCanvas<br />
Apparition-2012-36”X52”-OilonCanvas<br />
Aspect-2013-36”X36”-OilonCanvas<br />
AWhisper-2012-36”X30”-OilonCanvas<br />
Dawn'sWindow-1982-52"X42"-OilonCanvas<br />
FearNoEvil-2012-60”X60”-OilonCanvas<br />
LucidHorizon-2013-36”X30”-OilonCanvas<br />
LuminousI-2007-42"X60"-OilonCanvas<br />
LuminousSky-1990–48”X48”-Oiloncanvas<br />
Encore–2015–12”X12”–OilonPanel<br />
Obscure–2015–50”X50”–OilonCanvas<br />
OldSoul-2013-60”X50”-OilonCanvas<br />
Silence-2014-54”X48”-OilonCanvas<br />
StepWindow I-2000–68”X80”-Oiloncanvas<br />
StepWindow-1989-84"X68"-Oiloncanvas.<br />
Summon-2012-24”X24”-OilonPanel<br />
SunburstI-1981-48"X68"-OilonCanvas<br />
Transfigured-1994-48"X60"-OilonCanvas<br />
Untitled-[Detaillowerthird]-1989-120"X84"-Oiloncanvas.<br />
CommisionedbyUSATODAY.<br />
VeiledAura-2014-36”X36”-OilonCanvas
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