Bob Barron's art is a place of retreat from today's world. It is a deliberate remove from a digitally manipulated, glossy, advertising culture with its emphasis on instant gratification.
He uses card that was once packaging for this consumerist society, and slate which appeals because of its age and sedimentary origins. On both he etches, assembling images which express musings about the passage of time.
Barron writes: I collect this card that is the raw material of my work from local outlets, then cut it and tear it and paint the various pieces. Sometimes I will attempt to remove this fresh paint to reveal parts of the text on the card or I will score and scratch the surface or perhaps sand it down to reveal the corrugations beneath. Texture is important to the work.
I have further used this interest in the use of discarded materials by drawing into old and broken slates that have lain on rooves for years before being replaced and cast aside. I wash the slates clean from years of soot and grime and etch into the surface with a sharp point.
My work is essentially about communicating a certain aesthetic. There are some lines which Robert Hughes wrote about Richard Diebenkorns Ocean Park series of paintings which are pinned up in my studio: -
"One hears neither the chant of surging millions, nor even the chorus of a movement, but one measured voice, quietly and tersely explaining why this light, this colour, this intrusion of a 30 degree angle into a glazed and modulated field might be valuable in the life of the mind and of feeling."
The quote from Robert Hughes more or less sums up my approach to my art. Artists I like, not necessarily major figures, the list would be too long, include Tapies, Diebenkorn and Cornell. Closer to home, there is Nicholson, Pasmore, Paul Feiler and Prunella Clough.
Apart from my involvement with my art, I suppose I could be described as a 'movie buff' and I try to keep abreast of the latest scientific developments.