• Careful Awareness
    • inkjet on canvas
    • 30" x 30"
    • Red Handed Never Caught
    • inkjet on canvas
    • 30" x 30"
    • Red Handed Never Caught 2
    • inkjet on canvas
    • 30" x 30"
    • Red Handed Never Caught 4
    • inkjet on canvas
    • 30" x 30"
    • Red Handed Never Caught 3
    • inkjet on canvas
    • 30" x 30"
    • Thinking For Days
    • inkjet on canvas
    • 30" x 30"
    • Thinking For Days 2
    • inkjet on canvas
    • 30" x 30"
    • Ammunition Never Rests
    • inkjet on canvas
    • 30" x 30"
    • Separate Worlds
    • inkjet on canvas
    • 30" x 30"
    • Working On A Plan 2
    • inkjet on canvas
    • 30" x 30"
    • Cremate the Crutch
    • inkjet on canvas
    • 30" x 30"
    • Elevate Me Later
    • inkjet on canvas
    • 30" x 30"
    • In For A Change
    • inkjet on canvas
    • 30" x 30"
    • Lost in the Foothills
    • inkjet on canvas
    • 30" x 30"
    • Ammunition Never Rests
    • inkjet on canvas
    • 30" x 30"
    • Mix and Remind
    • inkjet on canvas
    • 30" x 30"
    • Talk About Leaving
    • inkjet on canvas
    • 30" x 30"
    • Some Cold Advice
    • inkjet on canvas
    • 30" x 30"
    • Back in Line
    • inkjet on canvas
    • 30" x 30"

Artist Statement

Create the incredible. In my life, art and architecture serve as counterpoints to each other, the one priming the other. The practice of architecture is structured by program and client preferences – a dozen people can tell you what to do and every line has 15 critics. By contrast, painting is pure liberation. Immediacy is everything.

I work quickly. Painting quickly is a calculated act to stimulate the imagination. The object is knowing when the painting is done: when I’ve gone far enough. Sometimes I catch myself at just the right moment, or I walk away for a minute and realize it’s complete. Sometimes, after going too far, I wipe the surface clean and with a few strokes, suddenly there it is: a familiar but unanticipated presence that didn’t desert me after all.

Artist Bio

Born and raised in Colorado and a fourth generation native, Robin Ault studied architecture at the University of Colorado, Boulder graduating in 1996. In 1995, while still a student, he began working as a designer in the Denver architecture firm Fentress Architects and participated in numerous national and international design competitions. He has been the lead project designer for several buildings including the LEED Platinum Humanities Gateway at the University of California Irvine and the LEED Gold stem cell research laboratory for the Sanford Consortium for Regenerative Medicine adjacent to the Salk Institute in La Jolla. After 17 years with Fentress Architects, Robin joined Clutch Design Studio in Denver in May of 2013.

A licensed architect, Ault has always considered himself an artist and has used painting and sketching as part of the design process. Inspired by the writings and work of Robert Motherwell, Cy Twombly and Robert Rauschenberg, Ault began devoting more time to painting in 1999. Since then, he has won awards with the Art Students League in Denver and the Curtis Arts and Humanities Center in Greenwood Village, received a public art commission from the City of Denver and shows regularly at Space Gallery in the Santa Fe Arts District in Denver. Named one of ENR’s ‘Top 20 under 40’ in 2012, Robin Ault is a visiting critic to the University of Colorado, College of Architecture and Planning.