Robert Szot‘s paintings follow in the great American modernist tradition of Abstract Expressionist painters such as Mark Rothko, Barnett Newman, Richard Diebenkorn and Helen Frankenthaler. Each painting is an image rich and vibrant, with the impression of space suggested by planes of color and a super-imposed linear structure.
In its entirety, his work presents as a social discourse full of current references to places (NYC and Texas), to musicians and song writers, and some socioeconomic slang mixed with a smattering of religious references. It’s very timely and outwardly expressive, with a pure honesty that only other Americans recognize.
Paul Weiner of Critique Collective writes,
“His work is hard to pin down, evincing canonical references in his formal techniques and relationship with beauty and music that seem connected with the abstraction of Synchromist artists such as Stanton Macdonald-Wright or Morgan Russell, a movement that predated Abstract Expressionism by 30 years. These references, though, are mediated by the history of color field painting, at times reaching washy paint handling and breaks between colors reminiscent of Helen Frankenthaler. Regardless, the clearest position in Szot’s work is a deadly sentimentality, the kind of pride in the American painting lineage that leaves Szot’s work poetic, vibrant, emotional, and unapologetically divorced from the often-cold embrace of contemporary painting paradigms.”