Bob Worthy

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This page gives a bit of information about the artistic stance of Bob Worthy. Try not to take it too seriously.

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Brief Artist's Statement

The landscape of Montana lends itself to abstraction of forces and colors. Colors interact to stimulate experience and emotion. Complexity of little shapes opens viewer understanding over time.

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More Verbose Artist's Statement

In Montana, everything seems to come from landscape, which lends itself to abstraction of its contours, forces, and colors. Two colors meeting on a painting can be deeply engaging, simply by themselves. I use color to stimulate experience and emotion, the viewer's landscape memories. Composition and the small details of an artwork renew each viewing experience. Worlds found, lost, and found again.

About as Far as an Artist's Statement Can Go

Like you, I appreciate a wide range of art, literature, and music. Living in Montana, I regularly enjoy outdoor experiences in a dynamic and sometimes challenging climate. The solitary experience and natural beauty of the landscape works its way into my artwork directly and in less obvious ways. There is something beautiful to take note of every minute.

In my forty years of wandering in the techno business wilderness, I came to appreciate the beauty of simplicity. It's an abstract aesthetic all its own. Nature, and human nature, is endlessly varying and complex. Nature drowns you with sensation. To cope, we abstract and simplify, both as solutions to problems and as artistic expression. This is my uppermost concern in making art.

Some art comes to me directly from an experience outdoors – hikes along a snowy ridge, deep Ponderosa shadows, three rocks in a small stream, a lurid yellow and pink February sunset on open bench land among junipers. The abstraction renders the characters in those scenes, solid pillars of Ponderosa pine, the fast changing but oddly static froth of riffles changing in a rushing stream. Catch it somehow and let the viewer experience not just a snapshot, but the flow of the water, the changing light.

Truly abstract pieces T rhw 25.jpg come from drawing patterns, very simple patterns, in pencil, and following their possibilities of color and those shapes that are not quite recognizable. When the drawing becomes a painting it develops a mood, an emotional content. Line and color carefully applied enhance the intellectual value of the piece, the mode of your thought that reflects on the shapes and colors. I work on these usually over many months, erasing, enhancing, and so on to bring together a composition with obvious and not-so-obvious qualities. Some elements are meant to remain hidden, in plain sight, for the viewer to develop a greater intimacy with the painting, and perhaps to be never be resolvable with certainty.

Collage works T rhw 36.jpg are a process of discovery. They start with a color or a texture, perhaps a bit of shiny paper. They grow slowly at first, until a number of torn and cut papers begin to fit together. Text is easy to incorporate into collage. Often it means nothing in the piece itself, but text to the literate conveys special context and emotion. Text is a familiar texture. Collage often tries to represent mental systems, modern systematic thought, and human construction. I scan and transfer these images to very permanent printed objects that have equivalent qualities with the original, fragile, paper.

Abstraction always leads me back to landscape T rhw 42.jpg, perhaps because I want you to feel you are 'in' the picture, your intelligence is playing with the structure, and you and the painting are becoming better and better acquainted, until you are good friends.