Your portraits in particular seem to access an emotional side of your subjects. Is this something you recognize in your own work as important, and if so, why? RB – Emotion is one of the most important elements that a painting can contain. Any good artist can create a two-dimensional or even a threedimensional image, but emotion is what puts it in the fourth dimension; it’s what turns an image into an experience, whether that is a sensation of relating to an emotional state of a subject or getting lost in an environment. It is, in my opinion, the absolute most important element that a piece of art can possess. Are there moods you experience which interrupt your process, or do you find yourself generally creative no matter the mood? RB – I would say any mood of an overwhelmingly extreme nature has a tendency of interrupting my creative process...as does the complete absence of emotion.
“untitled” charcoal
What kind of restraints do you feel exist in the art world today that prohibit outsiders and unusual thinkers from being able to present their works? RB – In my experience, there are many restraints that exist, such as socially enforced censorship, preservation of the egos in other artists, [and] protection of the reputations of galleries/publication sources, and of course there is the belief that art is only as good as its popularity. I could give more examples, but it is easier to say that the art world is a dirty place, full of people who are eager to bury you in a blink of an eye. “untitled” charcoal
“untitled” charcoal