Born in Detroit, Michigan U.S.A. in 1957 Graduated from the Center for Creative Studies College of Art and Design, Detroit Exhibitions Exhibited
works are of archival digital prints presenting recent works by Robert
Mirek. The first series of 15 prints were scanned from original drawings
of the Float Drawing Series which exist as graphite on burned-edge
mylar. The second series of 15 prints are digital photographic reproductions
from the Aluminum Series which exist as constructions using sheet
aluminum, silicone rubber, black oil washes and are surface etched.
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   |
 The
21st century is already opening up to a new age of beauty in a world desperate
with decay and the decadence of brutality. The work of Robert Mirek is
one of the burgeoning oases where we discover tranquility in a fixed and
certain skill and intelligence which gives credit to the viewer as a person
of imagination and taste. The refined esthetic which gives rise to the
Float Series is the result of experience in art history as well as studio
practice, and the consequence of intense discipline and sureness of touch.
This is art without philosophical pretense, political inclination or fabricated
trendiness.
 The
Float drawings are
a distillation of elements of the broader compositions of the jewel-like
paintings which preceeded them. The drawings, while not figurative, suggest
human gesture. The carefulness of the work connotes the orderly intentions
behind the better aspirations of the humanitarian mind, and the decisiveness
of the compositions recall other artists who may have produced works more
literal but not more evocative. Robert Mirek is concerned with the beauty
of his materials transmuted by thought. His success is immediately perceived
and gratefully acknowledged. The visual advantage, for those fortunate
to see his work, is ineffable.
Arnold
Klein
Dennis Alan Nawrocki
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Robert
Mirek’s brand-new, wall mounted 
The
emphatic boldness of shape and quirkiness of imagery constitute yet another
of the myriad opposites the work embraces. Akin to plaques, escutcheons,
or coats of arms, they are nevertheless created from one of the twentieth
century’s lightest and strongest materials–aluminum. Stocky but monumental,
simple but resonant, chromatically restrained but faintly reflective, holistic
but densely patterned, they embody a cluster of meanings literal and metaphoric.
Indeed, Mirek’s silvery gray emblems with their allusive and elusive imagery
serve to entice and engage the viewer with their playful, witty, and occasional
literary references. Once lured in, Mirek, ever light-on-his-feet, deftly
offers up a heady combination of form and content both nimble and weighty,
ambiguous and decisive.