R O B E R T M I R E KR E C E N T W O R K

CAELUM GALLERY • NEW YORK • 2003

e s s a y b y r i c h a r d s c o t t

“…a personal armory against the absurd.”

INTRODUCTION

Robert Mirek’s Aluminum Series combines seamlessly his

interests in space, form, and texture with his figurative and

narrative ambitions. The pieces are finely detailed studies in

figuration and form, shade and texture, geometry and

symmetry. And, they are eloquent evocations of our communal

past, as well as our shared concern for nature’s continuity and

the human community. The series is elegant, beautiful and

commanding of attention. Although monochromatic, the work

is supremely painterly, richly layered and complex.

Several of Mirek’s aluminum pieces are abstract studies in

geometry and symmetry. Although these abound with shapes

and forms, they contain no figurative or narrative content. In

them, Mirek is concerned only with the manipulation of planar

space. He uses drawing and painting techniques to articulate

compositional forms, to manipulate their spatial relationships

and to create illusions of three-dimensionality. But for these

few purely abstract pieces in the aluminum opus, Mirek’s

spatial studies are complemented by a clever integration of

abstract symbols and images with which he develops textual

and narrative themes.

Most of the aluminum compositions are figurative, but only a

few are explicitly narrative. Mirek’s influences are eclectic and

expansive, painterly and literary. Among his greatest influences

are Paul Klee and James Joyce. Like Klee, Mirek exploits in his

art the evocative powers of myth and symbol.

1 Number 146

“…abstracted

symbols that

retain an

evocative

punch despite

their elusive

meaning.”

He has developed a rich vocabulary of abstract symbols and

icons to articulate and expand textual themes with which he

has been working for more than twentyfive years. His use of

myth and symbols reflects his admiration of Joyce, whose wry

whimsy, manipulation of myth and symbol, and use of stream of

consciousness techniques influence significantly Mirek’s expressive

style. Like Joyce, his symbolic allusion draws its strength from

repeated use of a handful of images symbolic of universal themes:

earth, water, fire, and air; nature’s equilibria; human psychology,

fraternity. Symbolic images of these elemental concepts underpin

the figurative allusions in much of Mirek’s work.

The textual and thematic structure of the work resembles that

of Joyce’s Finnegans Wake. It is more allusive than narrative.

The figurative references do not combine to tell a story, or even

to stimulate consciousness of the ideas to which they refer.

Rather, they create a mood subliminal, evocative and

stimulating, a mood that gathers power when the compositions

are viewed collectively. In his recent work, including the

Aluminum Series, his iconographic approach to figuration has

matured significantly, enabling him to develop even his most

narrative compositions allusively, using abstracted symbols that

retain an evocative punch despite their elusive meaning.

Many of Mirek’s symbols and icons are geometric and

symmetrical. These features of the symbols reflect the artistic

and intellectual dialogue through which his abstract and

narrative works enrich one another. Through this dialogue, he

has created symbolically potent figures enabling him

simultaneously to create moods, evocations and allusions and

express his painterly interest in space, form, symmetry,

dimensionality, even in his most narrative pieces.2

3 Number 157 4

STRUCTURE AND MATERIAL

In the Aluminum Series, Mirek combines selected features of

painting and sculpture to realize his artistic and expressive

intentions. Like paintings, the pieces are designed for wall

display. But, they are constructed using sculptural materials

and structures. The substrates of the compositions are

aluminum surfaces mounted on hidden frames or armatures, by

which they are attached to the wall. The armatures suspend the

aluminum edifices about an inch from the wall, allowing them

to commune directly with the room and viewer, giving them the

immediacy and intimacy of sculpture while magnifying the

essential indeterminacy of painting, the unexpressed mystery

lingering in the shadowy space between the aluminum surface

and the wall.

The expressive implications of these aluminum edifices are

seen clearly when they are compared with Mirek’s earlier Float

Drawings. The two series spring from the same artistic

concerns. In both series, Mirek uses monochromatic materials,

and various drawing techniques to explore space, form, texture

and dimensionality. Although these common techniques and

artistic considerations give the two series an unmistakable

stylistic kinship, their material compositions and structures give

them very different voices and emotional impact. Aesthetically,

the Aluminum Series is the extroverted brother to the Float

Drawings, the more introverted and retiring twin.

Float Drawing Number 110 - © 2000

Float Drawing Number 121 - © 2000

“…confident and

self-possessed.

Their effect is

striking and

imposing,

frequently

amusing.”

65 Number 164

The Float Drawings are pencil on drafting mylar and have a

delicate, fragile character. The fragility of the drawings is

attenuated by the stout, protective frames behind which they

hang in relief, safe from the world outside. The frames have a

presence apart from that of the compositions per se, a presence

that shapes the mood of the drawings. From around these

artifices, the drawings seem to peek shyly out at the frightful

world, like Kilroy behind the wall.

The Aluminum Series is more assertive than the Float

Drawings. The pieces derive strength from both their industrial

material and their sculptural construction. The absence of an

external frame emphasized the material strength of the

aluminum, making it an essential element in the visual and

emotional effect of the compositions. Suspended from the wall

with strength of spine, the edifices are confident and self-possessed.

Their effect is striking and imposing, frequently amusing.

Although bold in relation to Mirek’s Float Drawings, the

monochromatic sheen on their planar surfaces gives the

aluminum pieces an air of aged sagacity, a quiet introspective

character. They hang from the wall in alluring contemplation,

revealing themselves gradually to those with the patience and

silence to mine the precious dust exposed in their subtle

details. They are poised, but introspective. Their mood is the

melancholy of the lonely ego in thought, solitude’s exquisite

mixture of joy and sadness. Their aluminum structures,

resembling shields and body armor, offer a subtle, friendly

reminder of the persistent need to protect the contemplating

ego from external threats.

“Three layers

of expression

complete the

compositions.”

87 Number 167

DESIGN AND TECHNIQUE

Unconstrained by the rectangular structure of externally-framed

paintings, Mirek conceives his aluminum surfaces figuratively

and thematically, shaping them to participate directly and

purposively in the compositions. The forms of the aluminum

substrates are impressively varied, but most are symmetrical

along the vertical center lines. Symmetry is an important

expression of the general themes of the aluminum series.

Though symmetrical, most are irregular shapes defined by

overlapping compositional forms and spaces. The figurative

design of the aluminum surfaces convey impressions and elicit

emotions against which the remaining compositional elements

take their shape and meaning.

To these surfaces, Mirek applies imaginative drawing and

painting techniques to redefine the structural space; to develop

themes and texts; and, to create internal spaces, manipulate

their dimensionality, and articulate the interrelationships

between them. Three layers of expression complete the

compositions. In the first, Mirek uses rich bold lines of black

silicone rubber to outline, and to delineate a series of spaces

and forms on, the aluminum surface. Within the spaces created

by the first layer, he dilutes black paint and pours it over the

surface. As it dries, it leaves a fine paint powder or dust on the

aluminum surface. He manipulates the density of the paint wash to

produce richly textured painted surfaces that resemble Japanese

landscapes in their pastoral subtlety. In the final layer, Mirek uses

nails and a rotary tool to etch forms and images. In most cases, the

etchings comprise varying patterns of small, detailed shapes within

the subspaces delineated by the silicone rubber.

“…painstakingly

conceived and

brilliantly

realized.”

109 Number 180

The pieces are painstakingly conceived and brilliantly realized.

There is an intimate relationship between the form of the

aluminum surfaces, the shapes of the spaces defined by the

silicone layer, and the density and texture of the etching and

paint wash. Often, the internal lines traced by the silicone

rubber are implied by the shape of the aluminum surface itself.

In Number 184 (p 15), for example, the lines of the ellipse-like

forms that flank the work conform to the lines of the aluminum

surface, producing an organic integration of the compositional

elements. In Number 215 (p 29), subtle variations in the line

of the aluminum edge suggest the five somewhat parabolic

shapes that span the breadth of the surface. Though visually

small, the complementarity of the composition’s aluminum form

and internal lines is crucial to its balance and serenity.

The relationship between the subspaces created by the lines of

silicone rubber, and the etched patterns and paint wash also is

highly structured and purposive. The form and density of the

etching specifies the spatial relationships between the several

subspaces outlined by the silicone rubber, enriching both the

narrative and abstract compositions. The compositional role of

the paint wash varies from piece to piece. In most of the

aluminum works, the paint washes contribute to the primary

geometric and narrative motifs, combining with the etching to

create textures and shadings that contribute to the

compositions’ dimensionality or textual content. In others, the

paint washes are unrelated to the primary themes and

narratives.

“…they are like

subconscious

themes that

bleed up from

beneath the

surface…”

In these, the paint wash tends to soften the dominant

geometrical and symmetrical lines; textually, they are like

subconscious themes that bleed up from beneath the aluminum

surface, voices of generations past, integral to the artist’s mind,

vision and work. Reading the paint wash layers resembles a

child’s afternoon entertainment, reading forms in the passing

cumulus and the mysterious deep blue.

The three techniques - silicone rubber, paint wash, and etching

- combine with the aluminum substrate to produce complex,

richly detailed, cogent compositions that recall the pencil and

paint wash works of the masters of 16th century Florence. The

silicone rubber and etching layers are interesting, almost

industrialized applications of Mirek’s delicate and masterful

drawing skills. As in the Florentine works, the paint wash

enriches the aluminum compositions, but does not alter their

essential character as drawings. His use of repeated etched

images and paint wash produces textures yielding the same

illusion of three dimensionality achieved by the Florentines

with penciled cross-hatching.

In other pieces, he distorts familiar geometric shapes to

produce the illusion of motion and pictorial depth. In Number

221 (p 33), his systematic distortion of parallel lines and

rectangles give the forms motion. The texture worked into the

background with paint wash adds pictorial depth and

dimensionality. The impression I enjoy most in this piece is its

cartoon-like attitude. The amusement and pleasure Mirek

derives from his work springs forth from time to time in stylistic

homage to popular animators. These subtle expressions of humor

and playfulness are among the strongest elements in Mirek’s

artwork, giving it a mood of wry whimsy and good will.1211 Number 181

“…symbols he

develops himself,

imbuing selected

images with

narrative and

figurative

potency…”

SUBJECTIVITY AND SYMBOL

Mirek’s belief that reality is essentially subjective has significant

influence on his art. It underlies his reluctance to name his

pieces and, thereby, impose on the viewer a particular meaning

or interpretation of his work1. It also underlies his narrative and

figurative techniques, with which he strives toward two slightly

antagonistic objectives. Like the martial arts master, Mirek uses

his art to explore, comprehend and articulate meaningfully his

own subjective experience, but he also strives to create work

that facilitates the same experience for the viewer. His goal is

to evoke in the viewer personal responses and impulses,

impressions of himself rather than the artist.

Mirek’s resolution of the antagonism between these goals

reflects his interest in mythology, symbols, and iconography, in

which narrative allusions and meanings are attached by

association, allegory and metaphor to specific words and

images. To enable realization of both his compositional goals,

Mirek has crafted a personal iconography representing his key

compositional themes: order, continuity, and fraternity. Mirek’s

includes in his symbolic alphabet ancient symbols deriving

from a variety of mythological and religious traditions. These

he supplements with symbols he develops himself, imbuing

selected images with narrative and figurative potency through

repeated use in narrative compositions.

1413 Number 183

1Although Mirek has titled some pieces, most are simply numbered, in order of the approximate date of conception.

“…he liberates

them of the

symbolic and

narrative baggage

bound to their

original form.”

One frequently occurring symbol in Mirek’s work is the arch,

which occurs in a variety of guises, from the severe curves of

the classical arch to the more graceful parabolic form. In all its

guises, the arch is a reference to the earth that derives from

Mirek’s interest in Hinduism. The symbol evolved from an

earlier body of work based on stories from the Upanishad, in

particular, the Ramayana Upanishad in which the earth is

divided and supported by four elephant deities: In the first

pieces in which the elephant appeared, it was depicted

explicitly; in Upanishad Series Number 61 using four small

plastic elephants. In these early compositions, the elephant

itself came to symbolize the earth. As he worked with the

image, the elephant continued to accumulate for Mirek more

associations, richer and subtler meanings. Meanwhile, he was

re-conceiving the elephant, reducing it to an abstraction, a

complex geometric form: the arch or parabola. This reduction

is essential to Mirek’s art.

Whatever their origins, Mirek gradually strips all his symbolic

images of detail to reveal abstract, elemental forms.

By smoothing over their identifying figurative

characteristics, he liberates them of the

symbolic and narrative baggage bound to

their original form. Not being

elephants, the arches that occur

frequently in his recent work do

not conjure for me the Ramayana

Upanishad, elephants, or the earth.

Using this and other forms, Mirek has

learned to express himself and leave the viewer

free to find his own reading of the symbol.

1615 Number 184

Upanishad Series Number 61 - ©1999

“…compositions

are both articulate

and elusive…”

His symbolic lexicon is abstract enough to allow him to work

out his own narrative quietly, beyond the vantage of the

viewer. As a result, the compositions are both articulate and

elusive; the narrative indirect and allusive.

Mirek’s iconography is an impressive manipulation of the

rhetorical potential of symbols. Effective rhetoric stirs ideas

with emotions. Rhetorically useful symbols are enriched with

associations that evoke virtually elemental or innate human

responses. Mirek’s icons are just such symbols. In the process

of reduction, Mirek succeeds in isolating the evocative; he stirs

our hearts and minds vaguely to stimulate in different viewers

a variety of freely associated images.

Consider Number 191 (p 17). The composition is laid out in

horizontal panels. Within each panel Mirek has etched and

painted elongated figures that recall both the flowing forms of

Jackson Pollock’s 1943 Mural for Peggy Guggenheim and the

haunting sculptures of Alberto Giacometti. Like those of

Giacometti, the figures seem absolutely alone, unaware of one

another. They are pained and terrified, desperate for reprieve

or escape. My immediate and enduring reading of the

composition is as a representation of Dante’s Inferno depicting

the nine levels descending into hell. It is a disturbing

representation of the soul’s struggle against the inevitable. I

mentioned this to the artist, who told me that the piece is for

him an exposition of the dove’s return to Noah’s Ark with the

olive branch, indicating proximate land and symbolizing

salvation. Perhaps in his representation of the birds he also was

depicting subconsciously the unfortunate beasts who failed to

keep the surface as the waters rose.

1817 Number 191

IMAGES AND THEMES

Encountering a wall displaying works from the Aluminum

Series is like entering the salon of a noble family with a long

and illustrious heritage. They have an aristocratic bearing.

Arrayed along the wall they resemble a portrait gallery

documenting the patriarchal lineage of the noble family in

residence. One can hear faintly the voice of the contemporary

bearer of the family herald as he guides us through the past,

“and here is my great grandfather...” Like the family portrait

gallery, Mirek’s aluminum work is an evocation of the past.

Structurally, the pieces resemble body armor, battle shields,

coats of arms and escutcheons, that inevitably conjure images

of knights, gallantry and magic. Note, also, the

illusion of rope and ancient Celtic knots he creates

with the flow of the silicone rubber.

If the Aluminum Series resembles a family portrait

gallery, the portraits must be patriarchal, for

Mirek’s aluminum series is fundamentally

masculine. The basic materials of which they are

composed are cold and industrial. They

create an initial impression that is martial,

medieval and feudal.

2019 Number 200

Florentine and Venetian escustcheons

“…Mirek’s work

encourages the

journey into

deeper, richer

levels of human

consciousness.”

But, the martial impressions conveyed by the overall structure

of the compositions are muted by Mirek’s humor and humanity.

We quickly realize that his work resembles more the modern

martial arts than feudal martial traditions, eastern or western.

Like the modern martial arts, Mirek’s work encourages the

journey into deeper, richer levels of human consciousness.

Though archaic, martial traditions retain an evocative and

symbolic power that the masters of modern martial arts exploit

to coax the practitioner into the battle of self-discovery, the

struggle to master mind and body, to realize the deeper

realities of human consciousness. In similar fashion and for

similar reasons, Mirek exploits the evocative powers of familiar

heraldic and martial symbols of medieval European society,

reconstructs their social and spiritual potential, and tools them

into evocative statements that entreat the viewer into the

compositions, and inward toward the self.

Mirek signifies his call to self reflection partially through

repeated representations of the human body. The human torso

is an important figure that occurs frequently among the

aluminum pieces.

2221 Number 201

“…suggesting the

unknown and

unexpressed…”

Indeed, the aluminum surface in Number 146 (p 1) is an

explicit representation of the torso. In several pieces, more

abstract structural spaces acquire human form through the

other elements of the compositions. Internal forms articulated

by the silicone rubber suggest physiological features that

transport us inside the torso, suggesting the journey inward.

Lines of silicone rubber trace images of the human heart and

circulatory system, jointed limbs, and digestive systems.

Number 164 (p 5) is an especially poignant example. In the

composition, Mirek creates not only the illusion of a torso, but

identifies the grail itself, the objects of the journey, by

centering of the concentric arrays at the heart and articulating

at the bottom of the torso, the seca tunda, the locus of chi, the

vital life energy. These allusions are potentiated by the endo-

skeletal structure and the shadowy space between the wall and

the composition, suggesting the unknown and unexpressed, the

road to the human heart.

Mirek often expresses organic themes with the etching as well.

In Number 180 (p 9), densely situated circular shapes suggest

the cellular structure of living tissue. In Number 219 (p 31),

repeating lines and linear shapes crossing the internal spaces

that flank the composition, suggest the membranes separating

muscle strands as they are revealed in vivisection. Since

childhood, he has been fascinated with living forms and

repeating patterns in nature. This fascination is evident in the

relaxed and somewhat playful character of the etched images.

2423 Number 202

“One of the most

striking features

of his work is the

organic quality

of its lines.”

These textual themes tend to obscure the initial martial

impressions the work conveys. A structure that initially

suggested a battle shield is morphed into a human torso, on

which are represented in the etchings the complexity of the

multi-cellular life of the human being.

Human allusions are only one of several organic themes in the

work, which includes various images of life: grains and plants,

animals and insects. One of the most striking features of his

work is the organic quality of its lines. Like nature, Mirek seems

to distrust the straight line and square corner; they appear only

infrequently in his work. When they do occur, straight lines

suggest artifice, man’s intervention in nature. Consider Number

180 (p 9), in which straight lines connect the earthlike surface

at the bottom of the composition with a series of points above.

These lines suggest the work of astronomers mapping the skies,

navigators measuring distances from shore, even astrologers

estimating the position of the planets at various times of the

year. Indeed, astronomical and astrological images - star charts

and sky maps - comprise another figurative theme in Mirek’s

work.

2625 Number 204

GEOMETRY, SYMMETRY AND FRATERNITY

It is interesting to consider Mirek’s geometric and symmetrical

design in the context of the humanitarian themes he develops

in his work. In the context of the biological and physiological

imagery with which Mirek peppers the compositions, Mirek’s

symmetrically arranged geometric shapes resemble complex

biological systems in equilibrium, conveying a sense of well-

being that strengthens his humanitarian themes. It gives the

pieces human warmth and kindness. This theme is expressed in

Number 201 (p 21), in which multiple references to the animal

world are given stability and security by compositional

symmetry. By contrast, the slightly asymmetrical forms in

Number 183 (p 13) throw the composition a little off balance,

giving it a pained air, a feeling of discomfort.

Mirek’s whimsical impulse frequently colors the impressions of

well-being he creates with symmetrically ordered geometrical

spaces to convey beautifully and precisely the mood of good

will. Number 181 (p 11), for example, consists of an oval torso

and four series of concentric circles suggesting arms and legs.

For me, the composition evokes immediately and precisely the

image of Buddha’s manifestation as Hotei, the god of good

fortune and the guardian of children. The rectangular

appendages at each side easily conform to my image of the

bags of good fortune with which he is often represented. There

he stands: belly bursting in joy, arms shooting high in jubilation

and mouth a-smile. In compositions like this one, Mirek inspires

a bemused acceptance of the silly, beautiful human race.

2827 Number 208

Hotei

AFTERWORD

Robert Mirek’s art is complex and amusing. It is an assault

against indifference, indifference to justice, art and beauty.

The work embodies a resilience rooted in strident self-

determination, acceptance and humor. It is a testimony to the

essential subjectivity of experience and a personal armory

against the absurd.

— Richard Scott, May, 2003

3029 Number 215

ACKNOWLEDGMENTS

Karen Larson

Sally Averill

Mason Mirek

Robert Edwards

Kip Kowalski

Nelson Smith

Gerry Craig

Lester Johnson

Joseph Bernard

Charles McGee

Harry Smallenburg

Dennis Nawrocki

Arnold Klein

Karen Klein

Stephanie Mirek

Harry Mirek

Ronald Mirek

Gregory Mirek

Lorraine Ven Zuch

Richard Scott

Miles Scott

Victoria Neale

Giorgio Stolz

John Cynar

Debra Clayton

Paola Trevisan

John Spike

Quirina Kryger

Nicholas Bergman

Misuzu Takemoto

Andrey Martynov

3231 Number 219

“No painting stops with

itself, is complete of itself.

It is a continuum of previous

paintings and is renewed

in successive ones.”

— Clifford Still

33 Number 221

index

p 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Number 146 – ©2001 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14” x 17” (36cm x 43cm)

p 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Number 157 – ©2001 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15” x 19” (38cm x 48cm)

p 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Number 164 – ©2001 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23” x 32” (58cm x 81cm)

p 7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Number 167 – ©2001 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23” x 32” (58cm x 81cm)

p 9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Number 180 – ©2002 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23” x 29” (58cm x 74cm)

p 11 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Number 181 – ©2002 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23” x 28” (58cm x 71cm)

p 13 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Number 183 – ©2002 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24” x 31” (61cm x 79cm)

p 15 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Number 184 – ©2002 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24” x 31” (61cm x 79cm)

p 17 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Number 191 – ©2002 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23” x 29” (58cm x 74cm)

p 19 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Number 200 – ©2002 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24” x 31” (61cm x 79cm)

p 21 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Number 201 – ©2002 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23” x 31” (58cm x 79cm)

p 23 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Number 202 – ©2002 . . . . . . . . . . . . . . . . . . . . . . . . . . . .23” x 28” (58cm x 71cm)

p 25 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Number 204 – ©2003 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24” x 29” (61cm x 74cm)

p 27 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Number 208 – ©2003 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24” x 29” (61cm x 74cm)

p 29 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Number 215 – ©2003 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23” x 30” (58cm x 76cm)

p 31 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Number 219 – ©2003 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23” x 32” (58cm x 81cm)

p 33 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Number 221 – ©2003 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23” x 32” (58cm x 81cm)

All pieces shown in this catalog are reproductions from original artwork constructed of aluminum, rubber, oil paint and are surface etched.

2003Michigan Guild Gallery - Ann Arbor, Michigan USA

Cass Cafe Gallery - Detroit, Michigan USA

Arnold Klein Gallery - Royal Oak, Michigan USA

V Salon Internacional de Arte Digital - Havana, CUBA

Caelum Galley - New York, New York USA

2002Arnold Klein Gallery - Royal Oak, Michigan USA

Sekanina Gallery - Ferrara, ITALY

Cass Cafe Gallery - Detroit, Michigan USA

Tengri Umai - Arts Festival - Almaty, Kazakhstan RUSSIAN FEDERATION

Paint Creek Center for the Arts - Rochester, Michigan USA

immedia 2002 - Ann Arbor, Michigan USA

Gallery LeVall - Novosibirsk, Siberia RUSSIAN FEDERATION

2001 Museum of New Art - Detroit, Michigan USA

Arnold Klein Gallery - Royal Oak, Michigan USA

Paint Creek Center for the Arts - Rochester, Michigan USA

TRIAD Gallery - Seal Rock, Oregon USA

2000 Museum of Contemporary Art - Detroit, Michigan USA

Detroit Contemporary Gallery - Detroit, Michigan USA

GALLERY B.A.I. - Barcelona, SPAIN

Arnold Klein Gallery - Royal Oak, Michigan USA

Caelum Gallery - New York, New York USA

OPEN STUDIOS - Bielefeld, GERMANY

Galerie GORA - Montreal, CANADA

1999 Ward-Nasse Gallery - New York, New York USA

World Fine Art Gallery - New York, New York USA

Arnold Klein Gallery - Royal Oak, Michigan USA

Galerie BLU - Pontiac, Michigan USA

Nicolet College Gallery - Rhinelander, Wisconsin USA

Nexus Gallery - New York, New York USA

Galerie BLU - Pontiac, Michigan USA

Arnold Klein Gallery - Royal Oak, Michigan USA

Lindenberg Gallery - New York, New York USA

Biennale Internazionale dell’ Arte Contemporanea - Massa e Cozzile, ITALY

The Art Gallery a Casa di Giorgio - Tuscany, ITALY

Orensanz Foundation Center for the Arts - New York, New York USA

1996 The Gallery at Marygrove - Detroit, Michigan USA

1995 Arnold Klein Gallery - Royal Oak, Michigan USA

1985CADE Gallery - Royal Oak, Michigan USA

Detroit Institute of Arts - Detroit, Michigan USA

1982Xochipilli Gallery - Birmingham, Michigan USA

Detroit Artists Market - Detroit, Michigan USA

1981Awful Truth Gallery - Detroit, Michigan USA

1978Gallery 7 - Detroit, Michigan USA

Detroit Focus Gallery - Detroit, Michigan USA

1977Detroit Institute of Arts - Detroit, Michigan USA

Detroit Artists Market - Detroit, Michigan USA

Gallery 7 - Detroit, Michigan USA

R o b e r t M i r e k

8 1 0 4 W . N i n e M i l e R o a d

O a k P a r k , M i c h i g a n 4 8 2 3 7

v o i c e : 3 1 3 . 4 1 0 . 7 3 2 2

e m a i l : m i r e k @ l m s t u d i o . c o m

w w w . l m s t u d i o . c o m / c a e l u m

R i c h a r d S c o t t

R i c h a r d S c o t t i s a g a r d e n e r a n d c o o k w h o c r e a t e s

h i s o w n i c o n o g r a p h y i n B e r k l e y , M i c h i g a n .

C A E L U M G A L L E R Y

w a s e s t a b l i s h e d i n 1 9 9 6 b y i t s C o - D i r e c t o r s ,

N i c h o l a s B e r g m a n a n d M i s u z u T a k e m o t o .

C o v e r : N u m b e r 2 0 2 ( d e t a i l )

F r o n t i s p i e c e : R o b e r t M i r e k i n s t u d i o ,

F e b r u a r y 2 0 0 2 p h o t o b y M a s o n M i r e k

CAELUM GALLERY

526 W. 26TH ST. SUITE 315 • NEW YORK, NY 10011 • VOICE: 212.924.4161

© 2 0 0 3