Abstract Paintings by Robert L Terrell
Robert's inside/outer approach to abstract art has given art aficionados and fans alike something to enjoy. His art reveals an interesting mix of irony and humor while attempting to remain free of hierarchical viewpoints (a tough job but someone has to tilt at the hierchical windmills, perhaps?). His art aims for a more positive twist, no matter how twisted his abstracted subjects might (and hopefully) become.
My thoughts, actions, and contemplations focused (to expand) the mysterious aesthetic connection(s) of brain-brane universal mind-membrane. "CONNECTEDNESS" relates to itself and through itself - transcending my abstract painting efforts. My varied "non art" interests in many ways informed and inform still this art, through the connectedness of it all. I, and thus, We, my art, my self, in all its connectedness to all my interests, my experiences, my friends, all stand back - agape in awe - ART magic manifested. . .
To that end, this website is httpS - the S means this is a secure channel webpage similar to the one you use whenever you pay for something online. The data transmitted from our site to yours and back is encryped. So that's an important way to maintain your privacy. And look up at the address bar at the very top of your browser (where the address of our website is located). You'll see the https://robert-terrell.com with the "S" like I said. Also you will see to the left of it, a small green lock which is a website security lock. There are several security paramaters being maintained in order for this website to get the lock.
Just know that rterrellart.com is a website that cares about the security of your personal data while you're browsing and enjoying the art here.
Artist Bio (Extended)
At age five I filled up manila paper with crayon lines & colors - the inner artist waking :) At age 14 - my obsessive pencil line "mazes," and watercolor landscapes occupied my mind a bit more than the teachers :( THEN!! my college art history discovery - The AMAZING De Kooning Women Series!! - blew my mind!!!
I HAD TO become an abstract art painter!!
In 1983 - my first real art studio in downtown Houston, but most often I was to be found sawing out baltic birch shapes in my apartment :) A body of work took shape and in 1985 Kauffman Gallery took me in and began to sell my abstract wall sculptures - so I quit my day job, and baked potatoes became my lifestyle :) . . . long years passed with lots of abstract art production (mostly bas-relief paintings on wood, but quite a few wood sculptures in the 1980s.
I moved around a bit - mostly trying to get myself established on the west coast and I lived several places in Southern California. I did sell some art there but always Texas: Houston, Dallas & San Antonio, seemed to be the most fruitful for me. I'm not sure why exactly. My art influences definitely include a New Mexico and California. And, of course, the Tornado Alley influence has always been huge in my work. In fact I've had to make myself not create some sort of supercell imagery (supercell: a type of severe and highly organized thunderstorm most often the tornado genesis) in many of my paintings, bas-relief paintings, and wall sculptures, too.
Look closely at many of my artworks and a sort of anvil-thundercloud shape can be parsed in some form or fashion. I don't always give in to the call of the wild stormchaser within, but it's a big influence and can't be discounted . . . I must add a bit more clarity here, though. When I was temporarily detained in junior high, I had a weather map scrapbook (oh yeah! the ladies were swoonin' !!!) It was the 60s so I scissored the weather maps from the local paper, our illustrious Lubbock Avalanche Journal :) The maps were b&w of course, and quite fascinating. But I did have a real-ish interest in weather - to wit I've already done been a blatherin.' And yes! I plan on a bitty bit more of my special blather in future paragraphs here below, so take a deep cleansing breath, 'n hang on.
Weather Map - early "abstract art" influence
My wee art studio on Christmas Day 2017
But, now, after a mere 50 years of occasional contemplation, understand that I probably (no... really) had a real abstract artist's interest in the weather maps themselves. I loved the warm and cold front lines, with the half-dots, and pointed dots printed over the map of the US, Canada & Mexico. And the abstract text buttons - H, L, etc. I still do, and now it's clear to me my scrapbook weather geek self was the budding little artist in my that was responding to the visuals - perhaps just as much (probably more) than the budding meteorologist. I did, after all, go to art school and not Atmo Science school. I still have interest in weather, especially weather of the supercell and tornatogenesis, but it's about 70% artist and 20% science interest, I think :) The 10% is unknown. Part of my anglo-saxo-bobbo genetic heritage, I think.
But when I got to art school, after my transfer from an English major, I soon realized that I wanted to make paintings that "did something," paintings that would "Do Something." But what did that mean? I'd been interested in holography, a budding "science" in 1972 but I didn't seem to find anyone interested in that. And would it really have "Done Something" either? I think now, I WAS influenced greatly by the weather maps. If you were a real weatherman you might be able to look at a weathermap and predict the weather. The maps were some sort of connection to the real-time world. They were ouiji boards for meteorologists, but supposedly worked!
I wanted my abstract paintings to have some sort of "connection" to reality like that. But alas, I was asking a lot of art wasn't I? Eventually, I did think of something, perhaps. When I began to make clocks I thought it might be that, but clocks are not much of a connection for people. Just something you check at work to see how long before you can get the heck out of the office.
When I created Heliodor I briefly thought clocks might be a real art thing that DID SOMETHING as a clock. It could be a huge wall clock that told time, IF you knew how to read it. Parts of a Heliodor sculpture could move, and someone "in the know" would know the time. I even found a guy who could do the gears for it. He wanted $1200 though, and the gallery that represented me at the time had no interest... so...
Anyway, now it's 30+ yrs past my entry into Kauffman gallery - I'm still full-tilt into production of non-objective & abstract paintings . . . They may not "do anything" to change the physical world in the ways I'd hoped when I was 40 years younger! But they can still do a lot as simple abstract art! It was a lot even in 1971 when I saw my first de Kooning painting. And his work still looks great! Now I have my own work direction going for a long time. And it's a good thing :) A lot of the struggle as an artist has really been the struggle with my mind to understand what I'm doing, and what can be done - as I continue to push further into new territory.