Abstract Impact: Robert Hamric
Native Texan Robert Hamric has spent his life creating, from metal sculptures to mixed-media assemblages to massive oil-on-canvas landscapes — all inspired by an ongoing fascination with the imagery of the American Southwest. Hamric, who displays at The Howell Gallery in Nichols Hills, spoke with us about his love of nature, his affinity for large-scale projects and more.
“MOUNTAINS IN BLOOM” 48x60” oil
Tell us about your beginnings—when did you first discover art, and was there a specific point when it turned into a profession?
I was born in Corpus Christi, Texas. My grandparents were from Madill, Oklahoma, and I would travel with them back to my great-grandmother’s farm. I was always amazed as we crossed the river by how bright the dirt was; I thought that red pigment paint must have dyed it that color. It is because of my Chickasaw heritage that formed the love I have for the land and sky of the western frontier.
The opportunities that I had growing up were quite amazing. Having started private art lessons about the age of 10, I also began taking some things I had made to the local Art Jamboree and would sell them. I guess I knew I was talented when people bought what I had made. By the time I was about 17, a work of mine was chosen by the Texas Watercolor Society and was exhibited at the Witte Museum in San Antonio. Later, while studying at the University of Texas, I was included in a juried group show at the South Texas Art Museum with a large geometric painting.
My artwork felt like it was professional when, after graduating, I moved to Houston and produced more large-scale work. Among them were some very large abstract car parts, done for the offices of my father’s automobile dealership.
“OCOTILLO SUNSET” 48x84” oil
You are a mixed media artist. What are some of the materials you use in your process?
The steel cube sculptures are made of powder-coated aluminum on stainless steel poles with steel bases. These are very geometric and represent a period when I was studying this particular shape of six cubes put together, establishing angles that make an illusion in depth and perspective, and that actually form a cross from one vantage point.
Other mixed media sculptures were created using starched canvas and wrapped colored wires with unique figures, emblems and small folk art clay pieces, as well as religious icons. These materials have been a favorite of mine because of the symbolism, universal shapes and features that these tree sculptures represent.
Can you share your perspective on the relationship between art and nature?
We have traveled often to Santa Fe and Taos, always being taken in by the soft, sandy terrain and earth colors of the adobes. The colorful doors and architecture always were inspiring for my work. More recently, traveling to Montana and Yellowstone Park have given me a great feeling for nature and wide open spaces. I appreciate the art, architecture and nature from any points of view. As an artist, I see the art of others from my point of view, as well as trying to see theirs. The villas on the hillsides, positioned one on top of the other, along the coast of Italy are sensational. The association that the terrain has with the sea and the white architecture with splashes of color is awesome. These things are probably seen differently by everybody, and it is a tremendous influence for most artists. It is one that forms a vision of stacked color.
“DESERT BLOOMS 2” 16x20” oil
What inspired you to create?
Joseph Cain, an art professor from Corpus Christi, was my teacher for the formative years in my creating. He used spiritualism in much of his work, which has always been a large influence to me. Also, I was able to observe his various techniques as he worked prolifically.
From an early age, upon visiting museums, I was always taken by the bright colored abstract paintings and some of the more pastoral impressionistic landscapes. The brush strokes and movement in Van Gogh’s paintings are always a pleasure to study. Another influence are the delicate and flowing landscapes of Andrew Dasburg, which are instrumental for understanding more about light, space and Cubism.
What has been your most memorable piece, and why?
Over the last 20 years, my wife Freda and I have been going out to far west Texas. It is very different from any place that you have probably been. I take many photographs when there, to use when I am back in my studio. The skies and mountain shapes are magical.
“PURPLE MOUNTAIN” 30x24” oil
I decided to do a panoramic painting from attaching five photos across lengthwise. At the time I occupied a huge studio. The final painting was extremely large; I built five canvases, each 8 feet tall and 10 feet wide, and lined them all up to paint the panoramic photo collage. The process was exhilarating, to be able to paint that large. The paintings ended up going in different directions to various owners. That was a unique experience that I hope may come around again.
What are you currently working on? What are you looking forward to professionally?
My current work portrays very abstract brush strokes in oil on canvas—the skies of early morning light to the sunsets over the mountains that can have color ranges of aqua blue, pale coral and pink to brilliant orange. Many times the clouds form and change from white to gray, and a dark bank will emerge with rain. I hope to expand with these images, and continue to paint with expressionism and bold brush strokes with much color.
I will be looking forward to the continued association with the Howell Gallery. It has been one of the best experiences of my life to meet the Howells, working with Laura and being a part of their gallery. It provides a great feeling to be part of Oklahoma City.