Artist Statement
My drawings and paintings are representational works. The compositions feature an interest in the forms and details of the human figure –– often hands –– combined with ordinary found objects and an imaginary space. These elements are arranged with a bit of surrealist spatial dislocation or “narrative” whimsy to become a figurative still life about consciousness, or about a mythological art history moment. Or, an imaginary “film still.” I hope the viewer detects a philosophical tension between significations of the present and of the past, between what is represented as material and that which suggests something symbolic or spiritual.
The traditional Renaissance “window” space of pictorial illusionism fascinates me, and my work has often referred to it. The visual properties and suggestive symbology of glass make windows and glassware a recurrent subject for me. Renaissance allusions or visual “quotations” are a frequent motif, presented ironically, symbolically, or paradoxically “in a post-modern context,” as one critic put it discussing my drawings. Renaissance references and homages have figured in a small series of works depicting fanciful journeys to an imagined “sacred” art historical site.
Photo by: William Bragg
We are compelled as viewers to look for meaningful relationships between things; it’s a fundamental associational process embedded in the cognitive mechanisms of the mind. The juxtaposition of objects in a still life can evoke an implicit narrative potential just as we see in classical film editing. My artwork has been influenced by my interest in film history. I especially enjoy the artificial world of Hollywood classical cinema from the 1930s and 40s, and I see a kinship to Italian Renaissance art production–– two relatively brief art historical periods similar in the astonishing output that emerged from the self-enclosed worlds of studios and workshops employing artists and anonymous craftsmen. Whether classic movies or frescoes and altarpieces, these studios produced monumental representational and narrative works that were expressive, meticulously crafted, stylized, and poetic –– rich in effects of lighting and decor, and potentially abundant in meaning.
I have exhibited artwork professionally since 1974, participating in solo and group exhibitions. I was a member of the Blackfish Gallery in Portland for eight years and was represented for several years in Seattle by the Kurt Lidtke Gallery and then by the Mary Lou Zeek Gallery in Salem. My drawings and paintings are held in several collections, including the Bonneville Power Administration, the City of Portland Visual Chronicle Collection, The Frederick and Lucy Herman Foundation Collection of Drawings at the College of William and Mary in Williamsburg, Virginia, the Home Builders Institute in Washington, DC, the Jordan Schnitzer Museum of Art in Eugene, the Hallie Ford Museum of Art in Salem, and the State of Oregon Historical Properties, and several college and university collections. My work is in private collections in the Pacific Northwest, California, New York, Pennsylvania, and Minnesota. I taught studio art and film studies at Chemeketa Community College in Salem, Oregon for 30 years, retiring in 2003. With my colleague Leonard Held, Ph.D., I also helped to bring classic American, contemporary, and international films to the Salem public for 40 years as co-coordinator of the weekly Wednesday Evening Film Series.
-Robert Bibler 2025
Photo by: Carol Hausser