Artist Robert Perez is a Conceptual Mixed-Media Artist whose work explores concepts
concerning metaphysics, narrative, mathematics, philosophy, culture and art making. Perez is
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
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
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