Colorado

Biography

Andrew Roberts-Gray has had one-person exhibitions at the David Floria Gallery, in Aspen;  in Carbondale, in New York City, and in Madison, Wisconsin. He has had his work in numerous group exhibitions across the United States.
His work is on view at the Harvey-Meadows Gallery in Aspen, (at the Highlands Base Village).

His paintings are concerned with the intersection of nature and technology.  His paintings are a meditation on the irrevocable meeting of engineering and the natural world. He is increasingly interested in basic issues of abstraction and representation, also.  He enjoys the traditional nature and surface quality of an oil painting while employing the devices and strategies of artists working today.

Mr. Roberts-Gray also builds, carves, and gilds frames for artists, galleries, and museums.  He recently finished a reproduction of a Louis the Fifteenth frame for a client in Vail, Colorado. The frames in this exhibition are made by the artist.

For ten years Mr. Roberts-Gray worked for the Guggenheim Museum in New York City.
His duties included handling and framing of the collection of works on paper, installing
shows by internationally recognized artists, and management of the permanent collection.
He has installed exhibitions all over the world including Shanghai, China; Sydney, Australia; and Venice, Italy.  His Museum career culminated in the inaugural exhibition of the Guggenheim Bilbao Museum in Bilbao, Spain in 1997.

He received an MFA from the University of Wisconsin at Madison in 1987, and received a BFA from the San Francisco Art Institute in 1983.

He lives in Glenwwood Springs with his wife and seventeen year old son.

Artist Statement

These images are about the intersection of nature and technology.  The paintings are an attempt at integration of the natural world and the terrible beauty of engineering.  In my mind the circuit board has become a metaphor for man, (the image of the empty parking lot can function the same way).  I enjoy painting on actual circuit boards and using their patterns and textures in the paintings. Resolving the tension created in combining a representational landscape scene and areas of pure abstraction can be a challenge. Making the object of the circuit board work with the flat plane of the conventional painting can present a similar test. I try to use color to reinforce the contrasting elements of the paintings and to integrate them at the same time.  The use of color in the paintings can also help to drag what is recognizable into a new context.

I hope the surfaces of the paintings engender a kind of meditative approach from the viewer.