I used to think that the best way to describe my work, process and the direction of my artistic intentions was to use the word Freedom. It is not that the aspect of being free, or the possibility of what true freedom can hold, isn’t still a part of who I am as an artist, but as my work evolves, so does my view of this liberty.
— Brad Robson
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Brad Robson (b. 1976) is an abstract painter and muralist based out of Sydney, Australia. He divides his time working out of his studio in Marrickville and participating in residencies and exhibitions in Europe and the United States.

Robson has exhibited his work at Woodward Gallery in NYC (with permanent inclusion), where his work is often hung beside Pollock and Warhol. 

Robson is known for his vivid and brazen color palette, his abstract portraiture and the intensity of movement within each piece. As a self-taught artist, he is keen on expressionism, using his work as a portal to deep rooted perspectives. His most recent projects include a 14 metre-high portrait in a rural district of Barcelona, illustrations in the upcoming Australian feature film, The School, and a massive commissioned mural on the exterior wall of Vintage Los Feliz Theatre in Los Angeles.

Artist Statement

My work has become a dissection of Freedom. And although that may seem like it defies the notion of what being free actually is, my perspective is an accumulation of everything I see, everything I believe, of all calibers, shapes and sizes, that make up the ability to exist in an unfettered state.  My process has eagerly become a channeling of instinctive vision. It’s a way for me to see, and to see even further.

Whether it is an abstract portrait, a large mural or a sketch, there is always a sense of urgency in both the finished product and the route getting there. I aim to blur the lines that I feel are hurdles-- ones that get in the way of authenticity or the reality behind creating. I want to tear the fabric between the reflections of ourselves and how the world sees us.

Urban spaces, the human psyche and pop-culture are all key influences in my work, but these symbols tend to emerge out of immediacy. I’m caught in a perpetual need to connect to all stimuli outside of myself. My work is a reminder that we are all expecting everything to stop, that we are waiting to make some sort of judgement, and that we never really will. I want my work to live in that moment of shift.

Change is constant, and nothing stays the same. It’s a personal truth that propels my portraiture into abstraction. A good piece for me will take over and begin to create itself. I always see this as a vehicle for growth and a way to tap into my most authentic self, and make some magic. Instinctive magic.

My paintings are also a demonstration to myself that I have to be willing to risk it all for my work to reach its ultimate potential. I’m never scared to fuck it up, because with a fear of that kind, the painting won’t reach its truest form. My portraits speak of a universal connection as I blur the lines between recognizable faces and the abstract-- between reality and someone you might be, between dreams past and present.

As a self taught painter, I’m constantly challenging myself, learning new techniques and methods, dedicating time to research and mastering new skills...and then turning it all on its head again.