"It’s important to maintain balance. When it comes to work one generates income, the other keeps me sane.”

Inspired by Byzantine art and Scotland's flora, Robert has a passion for capturing and artistically displaying objective stills - a reverence threaded throughout his practice.

With roots grounded in art-based photography, Robert is a portrait photographer by trade. Well-versed in capturing objective stills, his aim is always centred around venerating models’ identity: both his professional and personal work can be understood as transparent communication of visual imagery whereby representation is key. Always art-orientated, his exclusive pieces for Lost Artisans are coloured with imaginative interpretation, with deconstructive thought and practice is encouraged.

His shift towards capturing nature was as pragmatic as it was spiritual: a model always available is the Scottish wilderness, and what could be more divine than nature itself?

Beginning by capturing trees, such as Scots and Corsican pines, and wild flora, Robert initially endeavoured to represent their solitude. Experimenting with alternative mediums, inspired by Buddhist and Byzantine art alike, he found himself working with schlag metal and gold leaf. In doing so, he applies the veneration of organised religious Higher powers to introversive, self-reflective traditions which venerate the value of nature.

Initially, he emulated the practice of botanical illustrators, whereby pieces are often positioned centrally on the canvas. However now he chooses to root them to the bottom, introducing birds and butterflies to the absent space. His art continues to develop a representation of nature’s innate symbioses.

Robert creates art for himself and is greatly joyed in seeing his pieces elsewhere, "my ideal buyer is someone who carries a mutual respect for nature’s treasures."

You can check out Robert's photography, expertly printed and sealed onto one metre squared canvas and 23.5 carat gold leaf below.

The Process

Robert’s means of creating his pieces are shrouded with mystery. Without revealing too much of his refined process, sheets of 23.5 carat gold are applied by hand onto board, which is then covered by a thin layer of protective shellac. Ink pigment is encouraged to come away from specialist paper which transfers onto the gold, and compositional adjustments made. Completed, piece is covered in artist glaze and cured for several days, after which it is ready to be displayed. The convoluted nature of this process means each piece is made to order, to a unique composition, meaning no two are quite the same.