As humans, we are fluent in flowers.
Flowers are not spoken language – rather, a language of the eyes. However, flowers are often more eloquent than words. They can say: “I’m sorry,” “I love you,” “congratulations,” “I am thinking of you,” “thank you,” and much, much more.
Flowers are the mother tongue of beauty. Rather than words, flowers have colors, petals, and arrangements. And, instead of syntax, they have context, place, and relationships.
For Tyson Roberts, our Artist of the Week, it is that eloquence and conversational flower power that has inspired his art.
“[Flowers] are a universal format that can be used to convey a range of emotion…sadness, happiness, forgiveness, grievance, remembrance, congratulations,” says Roberts
That is emotional intelligence.
“Think about how vivid the flowers are when there is something important going on in life…plants and flowers [in hospitals, funerals, graduations, and weddings] have remained in my mind as a way to remember the situation and in some way feel at ease,” he says.
A Roberts canvas – each a systematically numbered opus – is a burst. Like a flower itself, his compositions often take on an energy epicenter from which the bright colors and floral subjects stem.
“I strive to fill the canvas and keep the whole picture plane full of movement,” says the artist.
Evoking motion, his paintings are pulsating with the verve and jazz of natural life.
“My goal is [to] keep the viewer’s eye bouncing around and feeding on little parts of color and line,” he says.
Roberts’ own work follows the yearly cycle of flowers; he is most productive in the spring and summer when plants are blooming. It is as if the surplus of Mother Nature’s creative energies, after fully blooming nature, has permeated through a new outlet in Roberts’ art.
While painting, Roberts will listen to music, or podcasts, or the company of his daughter, so that he is somewhat distracted from the canvas, cultivating a renewed sense of openness and freedom.
“This distraction helps my mind reach abstract modes of thought, which in turn correlate to what is seen in my work and towards the end near the completion of a work, this abstract mode transitions to a critical mode and final gestures, movements and adjustments are applied to the composition in an effort to provide balance and foundation,” he says.