Robert Hardgrave is a Seattle artist who focuses on improvisational creation. His work is striking, colorful and often wild. The Monarch Review published some of his work in Monarch #2. We had the chance to chat with Robert recently about his painting, his new focus and how he likes Seattle art. 

Jacob Uitti: In your paintings, there is so much movement on the canvas, why is this important for you?

Robert Hardgrave: I think it’s a byproduct of using the line to build up the work. You can’t hide from a line. It will pull you in its direction every time. Movement is inevitable. What’s difficult for me is to slow the movement down. Often times throwing in a large shape will ease the swirl. I enjoy work that shows the evidence of its humanity. I never want things to be too pristine, but I do enjoy the act of making a smooth movement.

JU: What does ‘too pristine’ mean to you?

RH: I guess pristine to me is something that feels too clean. I like dirtier drawings. Drawings with some unintentional marks, mistakes and wrinkles.

JU: Take me into a day at your studio: what does it look like, how many paintings are hanging, sitting on the floor? What are you drinking, is there music?

RH: On a good day I get in there after I make morning coffee. I sit and draw, listen to something fast-paced (lately it’s been Niezgal or Urgehal), and work for a couple hours to get into the groove. In the meantime I am looking around at what I could work on that day. I typically have many things in process to choose from. I have two string lines on the wall with about a dozen paper pieces in the works, a small wall for mid-sized paintings and a large wall for the bigger projects. There are two tables with bits of paper and fabric everywhere. Everything is ready for anything to happen. I like to keep the options open at all times.

Around 1, I eat lunch and possibly take a nap. Then I go for a walk or go back into the studio, work for a few more hours until my Sweet arrives home from work and spend some time with her, eat dinner, drink evening coffee and I go back down to draw and wind down. I get about 3 or 4 days like this a week.

JU: What do you do the other days?

RH: Other days I have appointments, meet with people or go and look at books or art. It breaks up the isolation.

JU: Can you describe your relationship to color? How do you aim to balance color in your work?

RH: My color choices are pretty arbitrary. I just pay attention to the temperature and try to go in the opposite direction to achieve balance. As far as value goes, I lean toward the dark side of things. I think value balance is harder than color balance, at least for me. I never went to school for art so sometimes I think my decisions are unusual. Everything I do is an intuitive process.

JU: Why do you think you tend toward the dark side of things?

RH: Well. Black is my favorite color.

JU: Do you think not having gone to art school is a hindrance?

RH: Not at all. It’s a blessing in my opinion. I’m sure you have read your share of artist statements that make your mind numb. I simply try to be completely honest about the intentions behind the thought process.

I never had to go through foundation training from someone else. Learning it in my own way was much more appropriate. I have done my share of self-study of work from the past and tend to be most inspired by the early/mid 20th century aesthetics and methods.

JU: What excites you about art in Seattle? Any projects or collaborations coming up?

RH: Well to be honest I am not that excited about the art here in Seattle. There are a few exceptions, but I am a hard person to please. Seattle does put in the effort. I appreciate all the DIY galleries and events.

I am doing a project with Jesse Ledoux for the upcoming Walk Don’t Run Nepo House event.

JU: Where do you go to see inspiring art?

RH: Sadly, mostly on the internet. Although, it’s missing the physical aspect of work in the flesh.

JU: What is it about Seattle that disappoints you?

RH: I judge good work as something that makes me want to go home and make my own work. That effect is a rarity. It’s a hard thing to pinpoint verbally. It’s more of a feeling.

JU: Do you have specific plans for producing specific work in the future, or are you going to let it come to you?

RH: That’s to be determined. I’ve become more interested these days in Textiles, compared to painting, because of the tactile aspects. Textiles can be touched and manipulated in many different ways. Painting is only one method.

JU: Why did you start to paint?

RH: I began drawing when I moved here to Seattle in 1992. Painting followed soon after. Painting was exciting, personally unchartered territory. I rode that wave for many years. I am still painting, but looking for new ways to express ideas. However I didn’t choose to be a painter. It found me.

JU: Other than your studio, where is your favorite place to go in Seattle?

RH: I don’t really have a favorite place. I enjoy riding the bus quite a bit. Most of my work is made at the studio. It has everything I need there. Music, supplies and a refrigerator upstairs.