ROBERT BOLSTER
FINE ART
squares series
traditional paintings


My paintings are evidence of a search for designs, subject matter, and techniques, that form a captivating piece of fine art. As a boy, I was drawn to work of Winslow Homer, Edward Hopper, and N.C. Wyeth. As a man, knowing their careers began like mine in illustration, encouraged me to pursue painting. Moments in the Atlantic Ocean's life are mostly what I attempt to record.

In 2007, after spending twenty-eight years as a freelance illustrator, I embarked on a painting career. While painting in my new studio space, memories of Freshman Foundation at Rhode Island School of Design, nearly three decades earlier, resurfaced. During that foundation year an assignment using abstracted square sections from a road map was given. One inch squares were enlarged using the "gridding" method to abstract them.

Many years later, I used a similar strategy for one of the few paintings I completed annually. While working on an 18x24 painting titled Duxbury Fog in 2004, a one inch square paper mask was used to isolate complex foreground areas of the composition. I found this approach to be interesting.

Later in 2007, I decided to complete my first large scale painting by creating individual square paintings, one at a time on the same surface. The 60x60 inch painting titled "Tidal Remains," is the first work in the "squares" series. It was created by painting one hundred-forty-four individual six inch square paintings to form a single image.

Helping me to maintain a connection to the past, I paint traditionally also, but every canvas brings me to the exact place that painters throughout history have been. That place is a blank, white, two-dimensional surface. It holds the promise of a new learning experience, and an opportunity to complete a piece of art that viewers will be drawn to throughout time.