Shadows add depth to the art, creating movement and flow not usually found in modern, innovative art formats. Robert H. Troy offers a fresh perspective, techno-advantage to his work, featuring unknown characters.
About Robert H. Troy –
A genuine resident of the sunshine state, born in central Florida, Robert H. Troy grew up in a small southeast Florida town. He attended the University of Florida and graduated in 1963 with a bachelor of architecture degree.
His architectural practice extended over 50 years, and he retired in 2008. Retirement allows him to pursue his lifelong interest in art which began in high school working exclusively in oils. His online gallery includes photos of a few of those oil paintings. He enthusiastically explored various mediums by taking several elective art courses in painting and sculpture at the art department through his Alma Mater.
Although his career demanded putting aside his desire to pursue more artistic endeavors, Robert Troy never lost his passion.
Robert Troy begins his work with a concept, relevant mixed media including found and arranged objects integrating shadow, dimensional placement and recapture with photography by either still shot or motion. With a shrug to inspiration and a nod to the art created by capitalizing on a fortunate accident, Troy reveals the ultimate stylized formation of his art with an eye for motion, shadow detection and design, as well as many other elements required to generate a dimensional concept art, innovative in style and nature.
Images taken are edited, enlarged and colors are shifted to reduce the resolution. The final image is cropped, rotated and shifted until the art form will most readily fit the desired outcome. Troy prints the image on canvas impregnated paper in a tile format to the scale selected. The printed image is then mounted onto archival quality foam board.
Any brush or pencil work is done at this stage of progression, either concealing tile joints or not, depending on expected results. With some pieces, the joints become an integral part of the expression.
Troy believes the use of tiles to be quite similar to the conceptual design of an artist painting a mural on a brick wall. The viewer accepts and most often ignores the joints of the foundation of the work, while appreciating the value of the work itself.
Troy shares the source of his inspired process of naming his art, the use of initials and numbers to identify individual pieces of his work:
As a child growing up in the mid forties in an era prior to television, my sister & I would lie on the living room floor late Sunday afternoons and listen to a mystery program on the radio called “The Shadow”.
As homage to that fond childhood memory, when I began again practicing art in earnest around 2008 on a full time basis, I decided to number each piece beginning with the tag “TSK”, as in “The Shadow Knows”.
Troy’s inspiration becomes a relevant notion as he explores shadows created by dramatically lighting objects, discovering shapes and allowing those shapes to become the core of the composition. He often minimizes elements that create the shadows, and focuses on the resulting composition. From this process he finds shapes and compositions that often surprise him, with the ultimate design being an arrangement he may never have imagined previously.
Recently he has taken a further step extending, extruding, or deconstructing the compositions, and has discovered in doing so that under varying lighting conditions, a final work consists of selected and developed shapes that generate real shadows; these shadows become an integral part of the composition, even on occasion extending beyond the original surface of the work.
The display of a piece under various lighting arrangements results in unanticipated new compositions.