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I wasn’t immediately impressed by Robert Standish’s images. Big deal, I initially thought, anybody can take an out-of-focus picture of street lights at night. Then I realized that these weren’t his photos, but his photorealistic paintings. Rippling water, light trails, shallow depth-of-field: Standish’s superlative artistic talent now astounds me. But it’s not all about technical ability, as he explains here on Show Us Yours.
Who is Robert Standish?
Someone who has a great desire to witness and be a part of an evolving humanity.
Why do you create?
Hmm. That’s a long list. I’ll mention I’ve never found a compelling reason not to.
Untitled (Woman with Folded Arms)
Photorealism strikes me as a creative catch-22. It requires exemplary artistic ability to make a painting look like a photograph, but then why not just print the photo and apply that talent to painting things that a camera could never capture?
I’m into a good photo. Still, I experience a very distinct enjoyment in the process and post-completion of my photorealistic paintings. Continuing from a photograph that I’ve taken to painting photorealistically adds another dimension to the original image and fuels my enjoyment of recreating the image in oil color. The finished painting takes on a separate life from the photo. It can be a combination of things that aid in this: i.e. paint texture, changes in lighting, color, and/or the elements that make up the image. For a viewer of the painting, these changes, along with seeing what is the result of an intense commitment to the image, can help further the image’s impact.
While it’s true some viewers of my work get completely caught up in the technique more than the image, they still seem to walk away with something. Possibly for them, appreciating the technique is easier than exploring the subject matter. Either way, it’s all good. There are so many exciting and wonderful ways of making art and an audience for each. More importantly, in each of all of those ways an artist and viewer can benefit. If the artist feels that he/she is no longer learning and effectively communicating from his/her chosen subject matter, process, or style, then it is the artist who suffers. If that’s the case, the artist must experiment with new ways of creating the work.
Currently, I’m not experiencing the creative catch-22 you have mentioned but know that if it comes to that, I will not suffer for long…
Gastown Finn (Rolex)
It looks as if you wandered the nighttime streets of L.A. to shoot the source images for your latest painting collection. Why did you choose that world to depict?
Nighttime, ephemeral city, traffic lights, and people I associate with life on the street set just the right stage for the emotions and ideas I’m intent on communicating.
Untitled (Lights #3)
The press page photo of your studio includes a guitar and an old motorcycle. What are a few of the things that bring joy and meaning to you?
Manifesting my creative ideas into reality. Witnessing spiritual laws unfold from positive intention. Sharing laughter. Watching my dog, a Sloughi, demonstrating an inspired sprint or just playing carefree. Walking on an empty stretch of beach. Experiencing other peoples’ talents.
My thanks to Robert for sharing his work. Please visit robertstandish.com to see more of his art.
If you would like to share your creativity, or you’d like to suggest someone for Show Us Yours, please send an e-mail to share@yorkrules.com.
1 Comment
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Support Barack Obama
show me a bike I could not fix.
double dare you.
Venice