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Robert Royhl

Robert Royhl

“Landscapes are inhabited by the visible and the tangible, but are haunted by things no longer visible. In my recent work, I am expressing both the presences and the absences in this world. My prints try to work along the outer edges of the visible spectrum towards the unseen. As time passes, forms ripen, bloom and pass away. Our world is a symphony of flowering pulses and holes. Matter and energy come together, and separate. No form is static and all is in flux.In my etchings. I consciously use the acid biting the plate as another natural process that can create an almost geological record in the metal.”

Artist Statement Continued…

” I work on my plates in many proofs, over long periods of time and am fascinated by the various accretions of form and line that slowly pile up on the plates.In the etching, “Along the Banks of the Kamogawa”, the landscape is filled with figures and the space of their world is opened up by their presence. The space is not neutral or inert, but charged and alive. Through time, one can see its openings and evolutions. My work starts with sketches done directly from the landscape or figure. This landscape evolved from drawings done at the Kamo River in Kyoto, Japan. My “Self Portrait” is a good example of the use of acid in the creation of my images. The drawing is created in the various bitings and rebitings and the textures built up are not possible to control rationally, but have their own logic in a process beyond human thought. This “geological” use of the acid can also be seen in recent landscapes, such as “The Birth of Lewis Rock. Time is made visible in the numerous bites of the plate in the acid, and the forms created on the plate mirror similar processes in the natural world.”

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