hedleyroberts hedleyroberts

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Hedley Roberts  sales catalogue available at hedleyroberts@gmail.com

Astral Vision 2016.
Oil on Canvas.
50x50cm
1000 years ago I met a woman in bar. She said she was a seer, and she was overwhelmed by my aura. It was a good chat up line. We got drunk and got it on. It was good, we both agreed. She said not to spoil it. We agreed to not share full names, numbers or details. Now I don’t remember her face. I do remember that she said that we’re all always connected forever always - on the Astral Plane. I never saw her again.

Hell Yeah 2018. acrylic polymethyl methacrylate on non-woven polypropylene weed suppressant. 170x170cm

Dead Coral 2018. Oil on Canvas. 85x85cm. It’s weird how likes on posts slow down during an art fair. I think it’s because the artworld is so busily posting their own. This painting is on display at Protocol QPark Cavendish Square London. This annual pop-up event is held in a car park, and is a rather bonkers celebration of inclusivity. The art is wild and varied. There’s a really short get in and get out time, and tight restrictions on hanging methods etc. It’s a fab positive event, and great to see so many friends there last night #frieze #friezelondon #friezeweek #antifrieze #qpark #cavendishsquare #johnlewis #protocol #coral #painting #contemporarypainting #paintersofinstagram

I’ve been working in Luton School of Art’s studios this week. #workinprogress #luton #hijabista #diversity #diversityandinclusion

Hell Yeah 2018. Detail of a 170x170cm painting. polymethyl methacrylate on woven polypropylene substrate. A detail of a painting of one of two women with prams outside Costa in Luton deciding between a Latte Mocha or a Hot Chocolate.

Ducati Boy 2014
Oil on aluminium composite panel
50x50cm

I was in a street of bars in central Kuala Lumpur late at night. A young man got off a big motorbike, removed his helmet. He had a thin balaclava over his head. He looked across, eyes smiling. The weather was warm. He removed the head covering, and it was clear that he was using the thin balaclava as a hair net for a floppy mop of well cut hair. The whole scene was straight out of a graphic novel. #kualalumpur #ducati #boy #painting #artistsofinstagram

Hardworking Man 2018. 50x50cm oil on Canvas.
A story of Modern Masculinity.

I’m a bit tired. I’ve been in the studio since dawn. I was there until late last night after a full day at work as Head of Luton School of Art which was followed by a late session at the gym - alongside other men working hard on their physical identity.
I’ve always overworked. It’s an attribute transferred from my father. He built a house in 3 years between his day job. When that was finished, we moved to a wreck in the country and he spent the next 15 years renovating it between his day job. He woke at dawn to work on our house or paperwork, he worked until he left at 730 to do his day job. When he finished at around 6 he’d eat and then go to work on our house again. Evenings, weekends, holidays.
For a long time it seemed purposeful and the epitome of masculinity. A quality attribute based in the idea of social mobility, bootstrapping our family economy through honest hard work and good use of the UK housing market as a way to change their financial status.
It worked. It changed our lives and our fortunes, and I’m grateful for the opportunities that it gave me. But it had a cost - everything does. As a grown man in my middle age, I also know now that purposeful activity provides a blessed relief from ones self, from the trouble of interiority; successfully undertaking justifiable avoidance.
I’m a hardworking man.

Skinned 2016. This won’t get many likes because it’s green, and galleries and dealers always tell me green paintings don’t sell. I like green paintings, and have made loads in my life, so obviously I don’t care. This one is one of a kind. There’s always these odd tangents in my studio. They don’t fit the vibe of the time, but they do something. It took me a long time to learn that they’re not tangents, they’re glimpses of the future. This one is entirely surface, there’s no truth behind those eyes, nothing to reveal, nothing except the painted on smile. #truetolife

The Blue Collar 2012. 120x120cm. Oil on gesso panel. This is part of the kissing series that formed a large section of my Doctorate “Love and Other Stories; Kissing, Inbetweeness and Mutual Give and Take”. Doing the Doctorate was hard and rewarding. I don’t think the writing was my best work, but it’s a strange kind of writing to do anyway. I’d advise anyone mid-career and floundering to do a Doctorate, it does bring focus and discipline. In the two years after the Doctorate my work progressed massively, as though being liberated from the discipline of the Doctorate, but with a more disciplined approach to practice created a new energy where anything was possible. This painting was made on the first of the “Directional Forces” residency programme that I founded with @siankatemooney. After this one in Germany we had lots more including Venice, Belgrade, Croatia, UK, Greece and more with over 100 participants. #doctorate #fineart #artpractice #nonportrait #studio #directionalforces

My newly edited catalogue of selected works 2013-18 is available as a pdf for #galleries, #dealers and #collectors hedleyroberts@gmail.com

https://delphiangallery.com/we-asked-45-artists-what-is-the-not-bit-of-advice-they-would-give-a-young-artist-at-the-start-of-their-career-read-their-answers-here/

Aisha, I’m vibrating.

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