Born in Detroit, Michigan U.S.A. in 1957
Graduated from the Center for Creative Studies College of Art and Design, Detroit
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.
Look at slide
show of all Portfolio
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
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.
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.
Dennis Alan Nawrocki