Robert Rivers, a distinguished Professor of Art at the University of Central Florida, transcends conventional artistic boundaries through his profound exploration of the darker, primal spirits that reside within humanity and the animal kingdom. His work, expressed through printmaking, drawing, and ceramics, offers viewers an unvarnished contemplation of existence, stripped of civilization’s pretense. Critics have noted the confrontational nature of his art, with writer Henry Walton stating, “evasion is not an option.” This interview delves into Rivers’ artistic journey, his inspirations, and his unique perspective on art and teaching.
Artistic Beginnings and Evolution
Rivers’ artistic path was not a direct one. Initially considering veterinary school or architecture, he found his calling in art, influenced by mentors like Maltby Sykes and Conrad Ross at Auburn University. His early career was deeply entwined with printmaking, particularly etching, which he describes as a “primitive, reptilian” connection that compelled him to pare down his work to its essentials. He recalls the art school at Auburn in the seventies as a “company town” atmosphere, fostering a sense of community among students and faculty that felt like “gypsy outlaws.” This sense of close-knit community was echoed when he began teaching at UCF in 1980, though he notes the university’s subsequent growth has diminished that intimacy.
The Influence of Animals and Personal Experience
A lifelong engagement with animals—from circus and horse training to dog and cat handling—has profoundly shaped Rivers’ artistic vision. His intimate relationship with animals as individuals has fueled his recurring exploration of their dual nature: the wildness and the domestication, the freedom and the enslavement. This theme is vividly illustrated in works like “Hercules at Rest,” an etching featuring a classical Greek horse juxtaposed with a flayed monkey’s head, symbolizing the inherent contradictions within an animal’s being.
A pivotal moment in Rivers’ career shift from etching to drawing occurred when a training accident injured his arm, damaging the ulnar nerve and making the precise control required for etching impossible. This injury, however, led him back to drawing, which he describes as “coming back home.” This transition released him to explore a broader visual language, pushing his creative boundaries further. His studio, meticulously organized despite a “prolific fury of creativity,” reflects an ascetic discipline that underpins his artistic process.
Artistic Process and Thematic Exploration
Rivers’ creative process often begins with classical figures, which he then distills to their essence. He infuses these compositions with intense subject matter, frequently exploring themes of consumption and primal truth, exemplified by his fascination with the iconic image of a lion tearing apart a man. He describes this visceral act as a “moment of truth” that reduces life to its core. His drawings are often washed with paint, sometimes multiple times, to add depth, with further layers of drawing applied to the dried medium.
More recently, Rivers has been engaged in a series titled “The Promised Land,” a tribute to his nephew, a soldier lost in Afghanistan. This series explores the archetype of the young soldier, incorporating elements such as boots, poppy fields, and symbols of warfare or its chaos. The inclusion of counterpoints like snakes or sharks alongside the lone soldier serves to explore his feelings about his nephew’s sacrifice and the complexities of war.
Art, Teaching, and the Unpremeditated Act
As both an artist and a teacher, Rivers grapples with the question of which role is more significant. He believes in providing students with a classical foundation and historical context for their chosen mediums. However, he emphasizes the importance of acting “without premeditation,” likening it to the “print gods” that introduce unpredictable elements into a print, forcing the artist to integrate the accident and enhance the work. He encourages his students to embrace the freedom found in Central Florida’s art scene, to “pull the rug out from under yourself” if creativity stagnates, and to satisfy themselves first. He asserts that there are no easy roads for an artist and that teachers must make the path challenging to foster true growth.
Rivers’ own work often embodies this balance between classical structure and the “hairy little soul”—the unpremeditated act—lurking in the corner. This enigmatic interplay between the planned and the spontaneous, the teacher and the artist, defines his quest to understand the identity of man and nature.
More of Robert Rivers’ work can be explored at RobertRivers.com.
