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More About Outsider Artist Robert Perez

  

Artist Robert Perez is a Conceptual Mixed-Media Artist whose work explores concepts

concerning metaphysics, narrative, mathematics, philosophy, culture and art making. Perez is

self-taught.


Perez began his visual explorations in the early 1990's with sculpture after receiving recurring

images in his sleep. Having never studied art, he traveled to Pearl Paint on Canal Street in

NYC on a suggestion and purchased a sculpting stand and some modeling clay. The model for

what would later become Time’s Assiduous Decree sculpted in carved aluminum was his

first artwork on his first attempt.


Bio-morphic forms emerged from the very beginning, and continue to this day in all of his

work, driven by relentless concepts that become manifest in his growing visual language.

If three-dimensional forms came easy, it was the magical world of two-dimensions that

baffled him. For Perez, the logical step was to copy something and hopefully learn through

the process. He borrowed a calendar of drawings by Michelangelo from a friend. After just

two copies he abruptly stopped and began working on his own work never returning to

studying by copying. Perez instead immersed himself in books studying art history.


Around this time, on a visit to The Metropolitan Museum of Art, Perez came across some

Impressionist drawings in charcoal. The manipulation of light and economy of information in

these drawings (one in particular) informed a new impression that changed his manor of

execution and solidified what is now his insistence on charcoal as his staple medium.


The next milestone was his discovery of working on plywood. He purchased a large piece of

plywood with the intention of exploring collage. As it sat in his studio whilst he pondered

what to create he found himself continually studying the grains of the wood. Day after day he

became more mesmerized by it natural beauty. “A masterpiece from God himself,” he said.

Instead of the collage he painted his first mixed-media on wood titled Alla ke Farishita, which means

“God and Angels”.


Spirituality, along with philosophy and the sciences, were always an underlying theme of Perez’s work, but

it moved to the fore throughout the years. The Jesus Series was his first overtly focused on the subject.

However, at the same time he was deeply concerned with art history and art making for its own sake. Perez

explains his use of flowers: “Flowers were initially used to explore the mediums of charcoal and paint

without necessitating an intention other than visual. But true to my nature they became objects of narrative

and also devises for abstraction because I can’t seem to remove myself completely from those intentions in

my work.”


A vagabond mind and lifestyle that included running a Genetics Lab at Columbia University and film

making, Perez has since honed his exploratory gatherings into a cohesive visual language and intent.

His current series are lengthy projects with defined parameters testing not only his endurance but his

desire to journey a long path to a lofty place of enlightenment – artistically, intellectually and

spiritually.

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