All my work is based on the human figure, almost always using the live model. Critic Anne Albert recently wrote, “Clyatt’s work appropriates classical figure sculpting methods and forms, yet through the use of postmodern and contemporary tropes it subverts the all-too-familiar prejudices against the figure generally and the nude in particular.” All of us working with the nude have stories: Public art commissions declined, gallerists turning work back for feared offenses against public taste, people seeking the erotic where none was intended, academic indifference.
Bob Clyatt grew up roaming the countryside of Northern California, ending up studying art at UC Berkeley in the late ‘70s. Absorbing the zeitgeist of that time and place created a desire for fusion in Bob’s work – ancient and modern, organic and technological. Using clay as his central medium connects Bob to the oldest art-making traditions. He uses a range of vehicles such as assemblage and the introduction of modern materials and gesture to bring about a fusion in the work to give it a contemporary voice. Bob has eight years of formal sculpture education centered on his years of studio and coursework at the Art Student’s League of New York, under the guidance of Barney Hodes.
Artist Statement: “Self-Portraits” is an exploration of human sexuality, its depersonalization and even brutalization by our culture; the unlikely fusion of sacred and erotic feelings; the tension of experiencing our bodies and souls as two separate parts of ourselves, one higher and nobler than the other; or, the exhilaration of experiencing the body and soul […]
Artist Statement: The common thread through out my work is my fascination with the figure; it’s timeless, beautiful and powerful. Additional inspiration comes from a variety of sources ranging from the old masters to modern day advertising, graffiti and body art. My goal is to combine these elements, along with my own imagination into a […]
Artist Statement: Always Somebody Moving. My imagery is the visual terminus of a much longer method, and perhaps its extra-visual meaning is to be found in the archeology of its making. Driven by a desire to first experience as manifest reality the symbolic content, my process starts with performances where my models and I make […]