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Fine visual arts created in New York's Hudson Valley

A story with no beginning or end...

Artist Scott Allen Roberts is a contemporary landscape painter  drawing on personal life experiences in which themes of mortality, existentialism, and the human condition dominate his bold and graphic artwork. The artist's allegorical works in acrylic and oil on canvas are peppered with symbolic artifacts employed to question where our actual and virtual lives intersect, and how we as a society have blurred the understanding between the two. While the ontological concepts in Roberts' work could be considered 'dark' territory, he explores them through bright, provocative, and compelling environments, something which can be seen in his ongoing and developing series 'PERPETUUS'. 


The Hudson Valley is the backdrop for Roberts' art studio as well as the inspiration for the current work. Delving into a four chapter series exploring the journey of the seasons ‘PERPETUUS’ opens with a selection of works from chapters one and two— the winter and spring respectively. Chapter one, entitled 'The Dusk. The Twilight. The Eve.' examines the beautiful austerity of winter in upstate New York. Interior spaces look out to cold and barren landscapes rendered in radiant, colorful hues. Chapter 2, 'A Civil Twilight,' studies the spring, and a cycle of renewal in a vast country setting. Striking, stylistic foliage and florals make up vivid scenery in a frenzy of growth. 

"...the tenuous juxtoposition between seasonality and mortality."

Chapter I



‘The Dusk. The Twilight. The Eve.’ is the first chapter in the PERPETUUS series. Conceived in the winter of New Yorks Hudson Valley the series of interiors and landscapes aims to explore ‘the end’ in terms of the tenuous juxtopostion between seasonality and mortality. Scott has employed dayglow/flourescent colors as the ground for all of the works, set against vibrational colors layered in an additive way. Beyond the distinct use of color the grouping balances graphic and painterly styles incorporating the use of full chroma and lighter transparent hues exploring bleak and scarce environments. This chapter features reflections, cast shadows, and portals such as windows or doors to place interior and exterior spaces against one another. These physical adjacencies aim to question a conceptual ‘real vs. virtual’ space and how we as a society have blurred the understanding between the two (a re-occuring theme). This winter chapter opens the four chapter series.