Today, I am bringing you another fantastic artist that loves using white!
Robert Ryman was born in Nashville, Tennessee in 1930. Ryman studied at the Tennessee Polytechnic Institute and the George Peabody College for Teachers, Nashville, before serving in the United States Army (1950-52). Ryman’s work explodes the classical distinctions between art as object and art as surface, sculpture and painting, structure and ornament.
Emphasizing instead the role that perception and context play in creating an aesthetic experience. Ryman isolates the most basic of components‚ materials, scale, and supports‚ His work enforces limitations that allow the viewer to focus on the physical presence of the work in space.
Since the 1950s, Ryman has used primarily white paint on a square surface, whether canvas, paper, metal, plastic, or wood, while working with the nuanced effects of light and shadow to animate his work. In Ryman’s work , wall fasteners and tape, serve both practical and aesthetic purposes. Neither abstract norentirely monochromatic, Ryman‚’s paintings are paradoxically surrealist.
About his work, Ryman says,
“I don’t think of my painting as abstract because I don’t abstract from anything. It’s involved with real visual aspects of what you are looking at whether wood, paint, or metal‚ it’s how it is put together, how it looks on the wall and works with the light…Of course, realism can be confused with representation. And abstract painting‚does not mean abstracting from representation‚ My work is involved mostly with symbolism. It is about something we know, or about some symbolic situation…I am involved with real space, the room itself, real light, and real surface.”