Perry Roberts
Biography
°1954, Newcastle upon Tyne, UK
Lives and works in Antwerp, Belgium.
Perry Roberts shows with his ‘Rare earth works’ a group of different minerals that, despite their name, are relatively numerous but difficult to find. Not the minerals themselves, but their birthplaces are rare. The elements have various uses and are essential for everyday modern life. The works are the result of a specific but unpredictable process, abstract in nature but complex in visual language.
Roberts' works were recently on view in the in M HKA Museum for Contemporary Art (Antwerp) and he was recently nominated for an award by the David and Yuko Juda Art Foundation. His work can be found in the collection of M HKA and the Vlaamse Gemeenschap.
Perry Roberts is represented by Gallery Sofie Van de Velde.


°1954, Newcastle upon Tyne, UK
Lives and works in Antwerp, Belgium.
Perry Roberts shows with his ‘Rare earth works’ a group of different minerals that, despite their name, are relatively numerous but difficult to find. Not the minerals themselves, but their birthplaces are rare. The elements have various uses and are essential for everyday modern life. The works are the result of a specific but unpredictable process, abstract in nature but complex in visual language.
Roberts' works were recently on view in the in M HKA Museum for Contemporary Art (Antwerp) and he was recently nominated for an award by the David and Yuko Juda Art Foundation. His work can be found in the collection of M HKA and the Vlaamse Gemeenschap.
Perry Roberts is represented by Gallery Sofie Van de Velde.
Solo exhibitions |
|
2021 | 'Below / Beyond', Hverfisgallery, Reykjavik, IS |
2020 | 'Dus toch geen toeval, Perry Roberts & Dirk Vander Eecken', Kasteelstraat 1 8978 Watou, BE |
2019 | ‘The Seasons’ Selfridges ‘STATE OF THE ART’ commission, Birmingham, UK |
2018 | 'non finito', Gallery Sofie Van de Velde, Antwerp, BE |
2007 | 'Between Certainty and Doubt', Koraalberg Gallery Antwerpen, BE |
2006 | 'Transition', Ikon Gallery Birmingham, UK |
2004 | 'European City of Culture', Lille, BE |
2003 | 'HERE', Kasteel van Leeuwergem, BE |
2002 | 'Between Here and There', Galerie Evelyne Canus, Basel, CH |
2001 | Galerie Conrads Dusseldorf, DE |
2000 | Galerie Annie Gentils, Antwerp, BE |
1999 | Vera Munro Gallery, Hamburg, DE |
1997 | Patrick De Brock Gallery, Knokke, Belgium |
1996 | Slewe Gallery, Amsterdam, the Netherlands |
1994 | Stadtisches Museum Abteiberg, Mönchengladbach, DE |
1993 | Gallerie Art -In, Nürenburg, DE |
1992 | Patrick De Brock Gallery, Antwerp, BE |
1991 | Laure Genillard Gallery, London, UK |
1989 | Laure Genillard Gallery, London, UK |
1988 | Goldsmiths4 M.A. Project Space, London, UK |
Group exhibitions |
|
2021 | ‘Lipstick and Gas Masks’, MHKA, Antwerp, BE |
2020 | 'L'heure bleue', Gallery Sofie Van de Velde & PLUS-ONE Gallery, Antwerp, BE |
2019 | ‘Looking at the World through Rose Coloured Glasses‘, Sofie van de Velde Gallery, Antwerp, BE |
2018 | ‘Malevolent Eldritch Shrieking’ Attercliffe, Sheffield, UK |
2017 | ‘WordsWordsWords’, Sofie van de Velde Gallery, Antwerp, BE |
2016 | Art Brussels, Gallery Sofie Van de Velde, Antwerp, BE |
2015 | 'Club Banger 1' UpDown Gallery, Ramsgate Kent, UK |
2014 | '30/30 Image Archive Project', MINUS SPACE, Brooklyn, USA |
2013 | 'Jo Delahaut-Hors Limites', Botanique, Brussels, BE |
2011 | 'The what and the how', Galerie Zandt, Eindhoven, NL |
2010 | 'Miniscule', Oblong gallery, London, UK |
2009 | 'Hypersurface FX', Margini Contemporary Art, Massa, IT |
2008 | '1968 – Architecture in Movement', Kunsthalle Wilhelmshaven, GE |
2007 | 'Retribution', Objectif exhibitions, Antwerp, BE |
2006 | 'If it didn’t exist, you’d have to invent it', The Showroom Gallery, London, UK |
2005 | 'Fiesta’, Annie Gentils Gallery, Antwerp, Be |
2004 | 'De Tuin van Herman Teerlinckx', Herman Teerlinckx House, Beersel, Brussels, BE |
2003 | 'Sugar and Spice', Annie Gentils Gallery, Antwerp, BE |
2002 | 'Painting as a Foreign Language', Edificio Cultura Inglesa/Centro Brasileiro Britanico Sao Paulo, BR |
2001 | 'Veranderung', Neuerwerbungen der vergangenen 10 jahren Studio A Otterndorf, Museum Gegenstandsfreier Kunst Landkreis Cuxhaven, DE |
1999 | 'Selections Winter 99, Paul Morrison, Perry Roberts, Richard Wright', The Drawing Center, New York, USA |
1998 | 'Circuit', Bruges, BE |
1997 | 'Pia Fries, Olaf Christopher Jenssen, Perry Roberts', Galerie Conrads, Dusseldorf, DE |
1996 | 'New Painting from the Arts Council Collection', Victoria Art Gallery, Bath, UK |
1995 | 'Fabre-Rationalitat und Emotion: Douglas Allsop, Heinrich Dunst, James Hyde, Perry Roberts, Winston Roeth, Marthe Wery', Gallerie Art-In, Nurenburg, DE |
1994 | 'Landescapes', Ex Lanificio Bona, Carigiano, IT |
1993 | Galerie Nachst St. Stephan, Vienna, AT |
1992 | 'Abstract Painting, Between Analysis and Synthesis', Gallery Nachst St. Stephan, Vienna, AT 'Brit Art', Kunsthaus Glarus, CH |
1991 | Bath Festival Exhibition, Bath, UK |
1989 | 'Six British Artists', Rijksacademie Van Beelden Kunsten, Amsterdam, NL |
1988 | 'Homage to the Square', Flaxman Gallery, London, UK |
1986 | 'Beyond Appearance', Hampshire County Museum Services, Touring Exhibition |
1984 | 'London Group', Royal College of Art, London,UK |
1983 | 'Whitechapel Open Exhibition', Whitechapel Art Gallery, London, UK |
1982 | 'Works on Paper', Aspects Gallery, Portsmouth, UK |
1981 | 'London Group', South London Art Gallery, London, UK |
1978 | 'British Contemporary Drawing', Marlborough Gallery, Marlborough, Wiltshire, UK |
1975 | Royal West Of England Academy, Bristol, UK |
Bibliography
1990 | 'Drawings', Laure Genillard Gallery, London. |
Artworks

Perry Roberts
Neon text work commissioned for Werkhuis MINN Antwerp 2019

Perry Roberts
Untitled, 2018
Linen, canvas, gesso, acrylic
40 x 30 cm

Perry Roberts
Untitled, 2017
Linen, canvas, gesso, acrylic
80 x 60 cm

Perry Roberts
Kingscliff, 2010
oil on paper, 200 x 150 cm

Perry Roberts
neodymium, 2009
Oil on paper
180 x 150 cm

Perry Roberts
cerium, 2010
Oil on paper
180 x 150 cm

Perry Roberts,
24 hr painting, 2001
Acrylics on canvas
200 x 100 cm

Perry Roberts
24hr painting, 1997
Acrylics on canvas
120 x 120 cm
Exhibitions
Fairs
News
Press
2018 | PERRY ROBERTS “non finito” Perry Roberts isn’t finished – especially with his own oeuvre. In his latest exhibition at Gallery Sofie Van de Velde, he confronts his own artistic past. Though he comes from a post- minimalist tradition, Roberts today employs a rather different voice. ‘Non finito’ is a Renaissance-era concept: leaving paintings and sculptures unfinished results in a highly specific aesthetic. Roberts re-interprets this technique and makes it his own. Left with a certain amount of discarded fabrics after renovating some earlier works, an idea took shape which he gradually developed into the highly singular technique of cutting strips and scraps from different materials, and combining them, first by glueing on small scale, then later by sewing. In this way he reacquainted himself with the aesthetic qualities of the linens, and canvas. Carefully fixed to each other and processed with a variety of paint and colour types, they complement each other literally and figuratively speaking. The whole is greater than the sum of its parts. Black and white aren't 'real' colours and they are often omitted in minimalism and post-minimalism. As an artist with an inquisitive mind however, Roberts enjoys exploring every gradation of white and every depth of black. The artist avoids dominant emotions with this sober colour palette. His aesthetically accessible works do not give up their secrets readily; they maintain a poetic aura and a certain amount of mystery. Moreover, room is left for ‘mistakes'. Irregularities at the level of colour or material lend the work its authenticity. By sewing together pieces of different materials, he also adds a craft-like quality, a human touch that breaks with the detachment of minimalism and post- What characterises the art of painting? Not all the new works contain paint – this is Roberts' way of questioning the fundamentals of painting. He looks beyond the surface and investigates the DNA of the canvas at a more profound level; he unveils the underlying structures of the painting tradition. The empty canvas, as the basic condition for conventional painting, is ignored and replaced with a new, constructed structure. Out of a 'non-canvas' with 'non-colours', Perry Roberts fashions an 'un-finished' painting. |