Robert Mars' new abstract body of work strikes a balance between chaos and control. Employing concepts rooted in abstract expressionism, he begins with multicolored paint layers of loose and dynamic brushstrokes on vintage newspaper. The choice to sometimes highlight and sometimes obliterate this record of events acts as rebellion to structure and order. The vintage newspaper is a bridge to the events of the past; anchoring the work in history. The dialogue between the layers of color and the events glimpsed through the paint sets the palette for the final composition. To apply order to the chaos, Mars precisely cuts the painted newspaper into predetermined patterns. Based on traditional quilt patterns from American history, this new series echoes the backgrounds utilized in Mars' representational body of work. As he rebuilds the composition, he keeps structure and color in mind. These new works are the result of a process of discovery and resolution.
A graduate of Parsons School of Design in New York, artist Robert Mars begins his creative process by preparing the surface with multiple layers of print media in order to define the edges and delineate the background planes of color. He then alternates layers of paint and vintage paper ephemera, sanding away portions of the layers as he works, revealing the desired portions of under painting with the overall intention to provide the viewer with a muted window into America’s past. Chronicling this fascination with 1950s and 60s iconography, Mars has produced a body of artwork that celebrates the commonplace objects and icons of America's long past in a thoroughly modern and exquisitely constructed manner. His eye for a distinct facet of American history and his ability to manipulate the color and wordplay of vintage printed material has earned him reference with the likes of Andy Warhol, Robert Rauschenberg, and Richard Diebenkorn among other masters from the School of Pop.