May 30 - June 15, 2002
Robert Mirek
Float Drawings & Aluminum Series
One-person exhibition
Born in Detroit, Michigan U.S.A. in 1957 
Graduated from the Center for Creative Studies College of Art and Design, Detroit 

Exhibited works are of archival digital prints presenting recent works by Robert Mirek. The first series of 15 prints were scanned from original drawings of the Float Drawing Series which exist as graphite on burned-edge mylar. The second series of 15 prints are digital photographic reproductions from the Aluminum Series which exist as constructions using sheet aluminum, silicone rubber, black oil washes and are surface etched. 
This edition (2002) composed on a G3 Macintosh computer incorporating selected digital reproductions from original artwork assembled using Adobe Photoshop version 5.0 

Look at slide show of all Portfolio 

Vernisage at LeVall Gallery
May 30, 2002
The 21st century is already opening up to a new age of beauty in a world desperate with decay and the decadence of brutality. The work of Robert Mirek is one of the burgeoning oases where we discover tranquility in a fixed and certain skill and intelligence which gives credit to the viewer as a person of imagination and taste. The refined esthetic which gives rise to the Float Series is the result of experience in art history as well as studio practice, and the consequence of intense discipline and sureness of touch. This is art without philosophical pretense, political inclination or fabricated trendiness.  
The Float drawings are a distillation of elements of the broader compositions of the jewel-like paintings which preceeded them. The drawings, while not figurative, suggest human gesture. The carefulness of the work connotes the orderly intentions behind the better aspirations of the humanitarian mind, and the decisiveness of the compositions recall other artists who may have produced works more literal but not more evocative. Robert Mirek is concerned with the beauty of his materials transmuted by thought. His success is immediately perceived and gratefully acknowledged. The visual advantage, for those fortunate to see his work, is ineffable. 

Arnold Klein 
April 2000. 

Robert Mirek’s brand-new, wall mounted aluminum series, share an agility and strength with the sport of boxing. Their seeming levitation and physical hovering a few inches off the wall are counterpointed by bold, black outlines and internal contours. Within the outer bands of black silicone that circumscribe the thin aluminum planes, inner contour lines divvy up the interior into organic shapes and forms animated by delicate and intricately etched patterns. The broad range of suggestive images these floating shapes evoke—torso, head, molars, webs—attests to the personal and humanistic origins of these industrially materialized objects. That too is part of the harmonized dichotomy of Mirek’s shapely, symmetric, modestly scaled series. 
The emphatic boldness of shape and quirkiness of imagery constitute yet another of the myriad opposites the work embraces. Akin to plaques, escutcheons, or coats of arms, they are nevertheless created from one of the twentieth century’s lightest and strongest materials–aluminum. Stocky but monumental, simple but resonant, chromatically restrained but faintly reflective, holistic but densely patterned, they embody a cluster of meanings literal and metaphoric. Indeed, Mirek’s silvery gray emblems with their allusive and elusive imagery serve to entice and engage the viewer with their playful, witty, and occasional literary references. Once lured in, Mirek, ever light-on-his-feet, deftly offers up a heady combination of form and content both nimble and weighty, ambiguous and decisive. 

Dennis Alan Nawrocki 
Art Historian, critic 
January 2002 

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