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As a child, I was extremely interested in the process of printed media. Growing up reading comic books in the 80’s, I’d always study the way the ink was laid down in patterns of dots to create various shading and tones. I’d even study it in advertisements around me. While completely disregarding what they were selling, I’d point to billboards while on the school bus and show my friends how mixing the blue, pink, yellow and black dots in various ways, they were creating browns, purples and everything in between! (This was decades before digital, so the dots were still very noticeable, especially on billboards.) They’d often shrug it off but I loved it. As an adult, I eventually started working in the print industry, first in sales, and then eventually textile screen printing and now running digital equipment. Even though the digital printers do all the “heavy lifting” in terms of making the image look like what it’s supposed to be, I’m still fascinated in the fact that those images are still being created by the machine laying down countless dots of Cyan, Magenta, Yellow and Black ink to make literally millions of colors and photorealistic images. Over the years, I started paralleling that to how I use spray paint to make my work and in the end, it’s essentially dots of paint landing on a surface as well. Once that sunk in, I started experimenting with letting overspray become intentional and eventually learning how to precisely control the “fuzz and splatter” from the spray cans to create similar effects for tones. Since then, I’ve had numerous viewers tell me “your work has so much more detail in person that the camera doesn’t capture.” What they’re seeing is all of those sprayed dots that the human eye can pick up on, but the camera doesn’t. There’s something to be said about an artist’s work that’s super crisp and clean, but there’s also a certain “Je ne sais quoi” about embracing the looseness and rough edges as well.
2024
Spray Paint on Canvas
One-of-a-kind Artwork
24 W x 36 H x 0.8 D in
Not Framed
No
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Growing up in the inner city, Bob Peck began his art career at an early age admiring the graffiti art scattered around Cleveland. He sketched his own versions of what he saw in his notebooks every chance he got. As he grew older, those notebooks were one of the few things he could call his own. Years of being a bystander in the graffiti subculture went by, and Bob continued drawing scenes from his environment. When he'd see a name appear more than a few times, he followed the graffiti "trails" to places with densely marred walls full of this urban art. After many visits, he finally met some of the local graffiti writers. These so-called vandals took Bob under their wing and taught him the history and techniques of the art. Soon after, he started to paint on his own. . Bob started painting walls in his neighborhood before quickly expanding throughout Cleveland. More years went by, and he had his pseudonym tagged all over town. As he reached his late teens, graffiti had taught him more than just an art form. It had taught him the spirit of competition and how to network. It was time to transcend. He started working the club circuit, offering his creative talents out to local DJ's and bands. This gained him enough notoriety and new connections to continue his evolution as an artist. He knew he was more than just a graffiti writer. He was an artist with a mission. . In the Fall of 2000, Bob started working with the Rock and Roll Hall of Fame. He presented information about graffiti as part of hiphop culture seminars. From there, he went on to work for Progressive Arts Alliance. He held residencies at Cleveland's inner-city schools--the very schools he attended--teaching students how to create art with a graffiti flair. It was the foundation he needed. Bob has since been included in over 100 gallery shows and painted dozens of murals throughout Cleveland and Akron for major corporate clients, local businesses, and nonprofits. . All of Bob's work ties back to those formative years, when seeing those bright graffiti colors amidst Cleveland's rust and concrete made his daily Rapid rides more bearable. His meticulous yet energetic lines may come from a place anger, adrenalin, pure joy or unbridled freedom. The only hint is the unique names of each piece. His process is disciplined as it is improvised, yet he is quick to make a joke about anything that begins to sound too highbrow. .
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