These colors taste like music

FAST FOOD” © 2021 | 60″ x 306″ | Oil, Oil Stick, military & industrial enamels on canvas on birch panel with micro-layer clay ground

Tavarua Kava Ghosts

Original Artists proofs and numbed editions” © 2021 | Painting Size: 42in” x 82in” (106.68cm x 208.28cm”)
Hand painted limited edition mono-print on the finest archival hot press cotton rag paper with hand torn edges.

"Papal Nuncio" Series

Original Artists proofs and numbed editions” © 2021 | Painting Size: 42in” x 42in”
Hand painted and altered giclée print on archival cold press cotton rag watercolor paper with hand torn edges.
Malibu, California

Word paintings from The 80s & 90s

HIGH YIELD” | ©1988~1989
66in″ x  216in″ (167cm” x 548cm”) 3 panels
Oil, oil stick, solvent transfer, wax, bird shit, charcoal, conte crayon, automotive paint on canvas on birch panel. Painted in Los Angeles, California.

These colors taste like music

HOMEWORK” ©2018 | 60″ x 216″ | Mixed media, oil, oil stick, military & industrial enamels on canvas on birch panel with micro-layer clay ground

Giant Man Rabbit House Woodblock Prints

©1988~2021 Each 42in″ x  42in″ (167cm” x 548cm”) 3 panels Giant woodblock print printed archival cold press cotton rag watercolor paper with hand torn edges.
London, United Kingdom

These colors taste like music

FITS & STARTS” 2019 | 60″ x 216″ | OIL, OIL STICK, CHALK, MILITARY & Industrial ENAMELS, ALUMINUM on birch panel with micro-layer clay ground

Fits & Starts in steel

The “FITS & STARTS” “jellyfish” shape realized in corten steel at monumental size located onsite at the Texas studio.

Robert Santore

Robert Santore

Robert Santore is an internationally collected contemporary artist, painter & sculptor with studio practice in Manhattan, New York and Montgomery Texas.

Robert is 5th generation Texan having spent his early years in the United Kingdom as an “air force brat”, and his formative years growing up in Southern California beach towns; Huntington Beach, Newport Beach and Laguna Beach, California. He was accepted into the prestigious UCLA Film School but chose instead to focus on contemporary art and attended Parsons School of Design in New York as well as the Otis Art Institute of Parsons School of Design in Los Angeles, CA and later attended the University Of California at Irvine.

Robert began creating large scale works of art & editions from his downtown Los Angeles loft before leaving school. His first solo painting exhibition was held at the Jerry Solomon Gallery in Los Angeles, CA in November 1986 and sold out. He has had solo exhibitions sponsored by the City Of Los Angeles, Security Pacific Bank/The Los Angeles Museum of Contemporary Art, The Los Angeles Municipal Art Collection, The Jerry Solomon Gallery in Los Angeles, The Brenden Walter’s Gallery in Santa Monica California and The Portfolio Gallery of Fine Art in Beverly Hills, California and has participated in many group shows & exhibitions both in the United States and internationally.

Robert is in the permanent collections of The Newport Harbor Art Museum, The Laguna Beach Museum of Contemporary Art and the San Jose Museum of Art and is in  many private and corporate collections. [read more…]

Tavarua Kava Ghosts Too X Four

"Original Artists proofs and numbed editions" © 2021 | Painting Size: 100in" x 176in" (254cm x 447.04cm)
Hand painted limited edition mono-print on the finest archival hot press cotton rag paper with hand torn edges.

2020 SURVEY

Tavarua Kava Series

Read About The COVID CHAOS Series

COVID CHAOS SERIES
These paintings depict a range of emotions experienced from fear, isolation to anger, rage to joy and celebration.

I am thunderstruck I did not catch the virus after 2 weeks of non-stop museum parties, gallery opening and social events during “New York’s Armory Week” held the first two weeks of March in 2020.

Shortly thereafter I returned to the Texas Studio and these works started to materialize during the early days of 2020 lockdown and isolation.

As the world shut down - I painted.

My isolation, the initial lockdown was in the Texas studio, 20 miles from the nearest services and over a mile and 1/2 to my nearest neighbor.

We all witnessed the confusing news reports, rumors and false information running rampant over all the social media channels made for anxious times. Details seemed to change by the hour.

The work again evolved while in lockdown in Manhattan. New York City was truly a ghost town, empty, streets filled with blowing newspaper … on my flight during the most challenge days in April of 2020, there were 3 people on my plane and more jets were parked on the tarmac than cars in the parking structure.

In Manhattan, people would avoid eye contact, cross the street when walking to maintain a perceived safe distance. Gloves, masks, hand sanitizer and binge watching became the norm. Groceries were incredible difficult to obtain - unbelievably we had supplies shipped in from Texas by family members.

And through it all a sincere since of impending doom and chaos from a silent invisible killer that was promoted as such by our government, medical experts and trusted news outlets.

Influenced greatly by Picasso and his iconic painting Guernica (which is a relevant today as it was in 1939) Matisse and his dancers and his colorful paper collage, the post war New York Abstract Expressionist, traditional Pacific Islander fabric decorations to my time leading graffiti art gangs in Los Angeles in the mid/late 80s all resonated and swam in my subconscious while making these works.

Some small and immediate (11” x 17” | 27.94cm x 43.18cm) to very large paintings (100” x 176” | 254cm x 447.04cm) on paper mounted on canvas or birch panels.

These works capture the anxiety filled days and nights during the early days of the pandemic and the fear and monotony of lockdown through the anger and rage of the demonstrations and riots that burned out storefronts (I witnessed first hand in New York City) to the highly divided political climate of the past years, the dysfunction of the election and insurrection at the United States capital.

Today, we are starting to celebrate, and dance, and exercise, and run and feel life again. A new hope, or if you will, an effort to make the most of “right now” before whatever may comes next.

Look deep into these paintings and look at the figures intentionally facing 4 equal directions and then replicated against the ever changing intentional and emotional brush strokes in Red and White, the intentional shapes and accidentals that create startling commentary.

COVID Chaos Series: Use Of Color

“COVID CHAOS” AND WHUAN
Color in Chinese culture refers to the certain values that Chinese culture attaches to colors, like which colors are considered auspicious (吉利) or inauspicious (不利).

The Chinese word for "color" is yánsè (顏色). In Classical Chinese, the character sè (色) more accurately meant "color in the face", or "emotion".

If you look closely at the intuitive brush strokes you will see the above characters.

Color was generally used alone and often implied sexual desire or desirability.

During the Tang Dynasty, the word yánsè came to mean all color. A Chinese idiom which is used to describe many colors, Wǔyánliùsè (五颜六色), can also mean colors in general.

: RED :
: INTENTIONALLY CHOSEN :
: IRONIC USE :
: COVID VS WHUAN :
Red or vermilion, corresponding with fire, symbolizes good fortune and joy.
The opposite was true for most of us during the pandemic.

Red is found everywhere during Chinese New Year and other holiday celebrations and family gatherings.
All gatherings and celebrations were canceled

A red envelope is a monetary gift which is given in Chinese society during holiday or special occasions. The red color of the packet symbolizes good luck.
Most felt the dramatic financial impact of the pandemic and again all gatherings and even for many work was stoped.

Red is strictly forbidden at funerals
Many family members, friends and associates were lost to the pandemic. Red in these works symbolizes blood, loss, war the operating room… doctors with blood on their white gowns.

In modern China, red remains a very popular color and is affiliated with and used by the government.
Some believe the virus was developed in the Wuhan lab - and covered up by the Chinese government.

: WHITE :
: INTENTIONALLY CHOSEN :
: IRONIC USE :
: COVID VS WHUAN :
White, corresponding with metal, represents gold and symbolises brightness, purity, and fulfilment.
For many the opposite was true.

White is also the color of mourning. It is associated with death and is used predominantly in funerals in Chinese culture.
I witnessed first hand the field hospitals and make-shift morgues in Central Park.

Ancient Chinese people wore white clothes and hats only when they mourned for the dead.
I witnessed first hand the field hospitals and make-shift morgues in Central Park. I chose it to represent the cleanliness of the operating room and traditional gowns by physicians.

These paintings depict the range of emotions experienced from fear and isolation to anger and rage to joy and celebration.

STUDIO PRACTICE: TEXAS

2018~2020 STUDIO PRACTICE

Robert Santore operates studios in Montgomery County Texas and Manhattan's Upper West Side.

2019~2020

Monoprints & Works on Paper

Covid Nudes

COVID NUDES

Boogie Wonderland

2020 Disco

Covid Nudes

Ocean Blues

Covid Nudes

COVID Blues 2020

French Laundry No 2 | 2020© Robert Santore

French Laundry

Red Rain No 2 | 2020© Robert Santore

Red Rain 2020

Boogie Wonderland

Tavarua Kava Surfers

Covid Nudes

Tavarua Kava Dancers

Covid Nudes

Jellyfish Studies

French Laundry No 2 |  2020© Robert Santore

South Street Seaport

Red Rain No 2 |  2020© Robert Santore

IN COVID LOCKDOWN

Boogie Wonderland

Jellyfish Jazz

Covid Nudes

RAVE 2020

Covid Nudes

ALL MONO PRINTS

French Laundry No 2 |  2020© Robert Santore

ALL MONO PRINTS

2019~2020

LARGER WORKS ON PAPER & EDITIONS

Hand cut giant wood block prints, acrylics and oils on paper, charcoal drawings and limited edition museum quality giclée prints on the finest quality acid free papers.

These works each reference the large monumental works on canvas and wood panels. The subject matter “The Man Rabbit House“, “The Club Sandwich Series” the “Tavarua Surfing & Kava Ceremonies“, “Jellyfish” from my many travels to the South Pacific. Jazz in the East Village or Harlem, Disco in NYC, Prague and Madrid. The “Genetic Memories Series” (“What Tommy Saw” & “What Charlie Saw” from the stores from my grandfathers, living through the cold war and the deep art history scholarly roots of my family. COVID Nudes created during the worst of the lockdowns in Manhattan Studioall brought together in the large word paintings, converted into editions listed here.

Red Rain No 2 |  2020© Robert Santore

What Tommy Charlie Saw Series 

Boogie Wonderland

Genetic Memories Series

Covid Nudes

What Tommy Saw Series

Man Rabbit House Giant Woodblock No3 by Robert Santore 2020©

Man Rabbit House Giant Woodblock No1

Man Rabbit House Giant Woodblock No2 by Robert Santore 2020©

Man Rabbit House Giant Woodblock No2

Man Rabbit House Giant Woodblock No1 by Robert Santore 2020©

Man Rabbit House Giant Woodblock No3

Club Sandwich 1987/2020 Left Side By Robert Santore 2020 ©

Club Sandwich 1987/2020 Left Side

Club Sandwich 1987/2020 MIddle by Robert Santore 2020©

Club Sandwich 1987/2020 MIddle

Man Rabbit House Giant Woodblock No3 by Robert Santore 2020©

Club Sandwich 1987/2020 Right Side

STUDIO PRACTICE: Manhattan

2018~2020 STUDIO PRACTICE

Robert Santore operates studios in Montgomery County Texas and Manhattan's Upper West Side.

STUDIO PRACTICE: Sculpture

“FITS & STARTS” in steel

The “FITS & STARTS” “jellyfish” shape realized in corten steel at monumental size located onsite at the Texas studio.

For enquiries, information or to request a catalog please contact us

Robert Santore

Studio Practice 

TEXAS STUDIO
Hurricain Creek Ranch, Since 1818
14648 SH-105
Plantersville, Texas, 77363

Mailing Address
20821 D. Eva Street, Box 82
Montgomery, Texas, 77356

MANHATTAN STUDIO
215 W. 84th Street, Loft 126
New York, NY 10024

C/WA: +1 (936)276-8783
Email: hello@robertsantore.com