Robischon Gallery

“In my work, I like the ambitious nature of what’s happening, whether it’s something being built or something that has failed in the form of a train wreck. Paintings coming from both big, ambitious projects and overreaching ideas. I like my work to reflect that large-scale idea even if they are small in scale.”
— Stephen Batura

The startling imagery, grand-scale and sophisticated mark of Stephen Batura's paintings are currently on view in 𝑆𝑡𝑖𝑙𝑙 𝑃𝑜𝑖𝑛𝑡, the artist's solo exhibition at Robischon Gallery.

Known for myriad series, and varied and often abstracted subject matter, Batura is best known for his distinct ability to conjure a dreamlike, evocative, yet recognizable vision of the American West. Drawing on the vernacular of early 20th-century photography, his highly painterly works move between monumental, monochromatic scenes and intimate, vivid paintings, creating a remarkably striking contrast. Through nuanced brushwork and compositional restraint, Batura transforms archival imagery into compelling and expansive meditations on universal human endeavor.

The artist's works on view explore the varied rhythms of life—from depictions of recognizable historic scenes, such as early automobiles on Denver's Alameda Avenue, to unexpected and catastrophic aftermaths of floods or train wrecks in the West. Whether Batura's subject matter leans toward either destruction or construction, or moments suspended between the two, his potently poetic works simultaneously reflect the scale of human ambition and humanity's inherent fragility.

Images: 1) Stephen Batura, 2) “nineteen-twenty-one,” casein on panel, 96 x 145.5 in, 3-4) “perch,” acrylic on panel, 24 x 36 in, 5-6) “forty-one,” casein on panel, 96 x 144 in.

In celebration of esteemed artist Linda Fleming’s birthday, the gallery takes a moment to acknowledge her remarkable work.  Highly regarded for her dynamic, free-standing, large-scale outdoor works and evanescent, light-responsive, or painted wall sculptures, Fleming’s distinct visual language and extensive study of the natural world continues to unfold with each new exploration of form, surface, and impactful, vibrant color.

The genesis of each sculpture begins with a drawing. Many are explored in impressive scale in an ongoing series - further manifesting Fleming’s exuberant use of line, color and pattern. This in-depth investigation, along with the artist’s sculptural models, greatly expands the possibilities of her large scale sculpture with a singular vitality. Enjoy these images of Fleming at the site of her comprehensive retrospective exhibition at Kaneko Art Center, followed by “Wayfinder,”  her 2024 permanent monumental installation, bathed in pink light in its Hawaiian location. These and other select images provide just a glimpse of this superlative artist’s unique and resonant mark.

“My works are my best attempt to use the physical arena to try out my perceptual observations. Always waiting to be let in on the secret of existence, I realized that I had to find it myself bit by bit over a lifetime. Making has allowed me to follow these questions to ever more elaborate questions and out onto limbs that force me back to the main trunk of the tree, pulled by the hope of seeing deeper into the nature of being.

We are not just who we become, but everything we ever were.”
-Linda Fleming

To inquire about available work by Linda Fleming, contact [email protected]
linda fleming

There are a lot of relationships within the sculpture that are lyrical. When I start out to make a work of art, I don’t know where it’s going, I don’t know what I’m going to find. My work is inspired by contemporary issues as well as primitive and folk art of many cultures. Wood carving and assemblage are found in practically all cultures, and I find the connection inspiring. “
- John Buck

Acclaimed artist John Buck, long represented by Robischon Gallery, is well known for his potent imagery and remarkable hand-carved, free-standing and kinetic wood sculpture across a range of scale and subject. In his current solo exhibition, 𝑁𝑒𝑤 + 𝑅𝑒𝑣𝑖𝑒𝑤, Buck’s artistic voice continues to resonate with insight and relevance. Carved wood and cast bronze sculptures, highly complex wall relief carving, and his latest series of intricate landscape drawings on wood panel invite contemplation through surreal, richly layered imagery and unexpected symbolism.

Jeulatong wood, the artist’s essential material is fundamental to all of his work, whether freestanding sculpture, wall relief panel, drawing, print, or highly complex kinetic mechanism. With a keen sense of balance, Buck’s wooden figures possess an archetypal grace that is at once personal and universal, harmonizing introspection with expression. The elaborate patterns and symbolic forms shouldered by the artist’s signature figures suggest metaphoric visions, and speak to profound and universal aspects of the human experience. Tactile and pictorial, abstract as well as figurative, John Buck’s long and outstanding career continues to be distinguished within the contemporary dialogue with its timeless recurring dynamic iconography and lyrical abstract forms.

𝑁𝑒𝑤 + 𝑅𝑒𝑣𝑖𝑒𝑤 is one of four standout solo exhibitions now on view at Robischon Gallery through October 31st.

Images: 1) John Buck, 2-3) New + Review installation, 4-5) “Whirlpool,” pen and ink on wood, 26.25 x 32 x 2 in., 6) “Kenya,” jelutong wood, 69.5 x 27 x 9 in., 7) “Cross Ways,” jelutong wood, 65.5 x 33 x 25.5 in., 8) “The After Thought,” jelutong wood and acrylic, 36 x 66 x 5 in.

For me, these paintings possess a sense of returning to a place, and a vocabulary exploring the contradictions of our relationship to our history and myths of the landscape. My work has always lived at the nexus of time and memory. I am interested in how combining different visual images and creating unexpected associations can trigger emotional responses and connections to our past – strongly influencing how we perceive the present.
- Tom Judd

In his sixth Robischon Gallery exhibition, 𝐼𝑛𝑡𝑒𝑟𝑟𝑢𝑝𝑡𝑒𝑑 𝐿𝑎𝑛𝑑𝑠𝑐𝑎𝑝𝑒, artist Tom Judd revisits the expansive and varied Western landscape of his youth and the emblematic creatures who reside there. Moving between horizontal compositions and vertically cropped views, Judd deliberately interrupts the conventional panoramic landscape, presenting compressed and unexpected perspectives that invite the viewer to imagine what exists beyond the frame. Delicate, tactile drips, intentionally raw swaths of pigment and hand-built surfaces, further disrupt conventional modes of representation, pursuing the nature of transition through the artist's highly improvisational approach.

Drawing on an unexpected convergence of Americana, abstraction, and collage, Judd constructs richly layered, nature-based works that reveal a spirited and artful dialogue between memory, history, and landscape. The sixteen new paintings comprising 𝐼𝑛𝑡𝑒𝑟𝑟𝑢𝑝𝑡𝑒𝑑 𝐿𝑎𝑛𝑑𝑠𝑐𝑎𝑝𝑒 serve as material witness, evoking meditations on change, the sublime and the fragile, with generous intent to shift boundaries between what is remembered and what is imagined.

𝐼𝑛𝑡𝑒𝑟𝑟𝑢𝑝𝑡𝑒𝑑 𝐿𝑎𝑛𝑑𝑠𝑐𝑎𝑝𝑒 is on view at Robischon Gallery alongside three equally compelling solo exhibitions; John Buck’s New + Review, David Hytone’s The Other End of the Telescope, and Stephen Batura’s Still Point.

Images: 1) Tom Judd, courtesy the artist, 2&4) Installation of 𝐼𝑛𝑡𝑒𝑟𝑟𝑢𝑝𝑡𝑒𝑑 𝐿𝑎𝑛𝑑𝑠𝑐𝑎𝑝𝑒, 3) “Lady of the Rocks,” oil on canvas, 52 x 48 in., 5) Left: “Lakeside,” oil on panel, 78 x 16 in., Right: “The River’s Edge,” oil on panel, 78 x 16 in.

I’ve been considering the notion of self as an aggregate of separate entities, cobbled loosely together from the disparate facades we present both to the world and ourselves. This is not only reflected in the imagery employed in my work, but was also the result of my process, particularly how much of the work is constructed from hundreds of individual pieces of hand-painted paper.
- David Hytone

With a poetically evocative title, inviting viewers to consider the relationship between observer and observed, David Hytone presents his first exhibition at Robischon Gallery, 𝑇ℎ𝑒 𝑂𝑡ℎ𝑒𝑟 𝐸𝑛𝑑 𝑜𝑓 𝑡ℎ𝑒 𝑇𝑒𝑙𝑒𝑠𝑐𝑜𝑝𝑒. Laboriously constructed from hundreds of individually painted and collaged elements on panel, Hytone’s paintings inhabit a space between abstraction, figuration and dream logic, where familiar forms become strange and meaning remains deliberately open.

In "Same/Same,” shown in the first two images, a nearly obsolete telephone receiver is paired with an illusory, abstract form rendered in the same green hue. What the enigmatic form may receive or transmit remains unresolved. Instead, the two elements establish a reciprocal relationship in which each object becomes a means of further defining the other, fluctuating between symbol and image.

Across Hytone’s work, gramophones, lobsters, mysterious lattice-like structures, and other theatrically staged objects are dramatically juxtaposed to great effect. Luminous color, tactile surfaces, and an idiosyncratic technique heighten the tension between the familiar and the inexplicable. Each composition suggests a narrative without resolving it, as Hytone generously allows the viewer to personally assemble and consider the meanings that emerge.

Enjoy this brief glimpse of two of the several complex artworks in David Hytone's intriguing and visually alive solo exhibition; concurrently on view with solos: Tom Judd’s "Interrupted Landscape," John Buck, "New + Review," and Stephen Batura "Still Point."

Images: 1-3) “Same/Same,” acrylic/Okawara on panel, 14x28 in., 4-6) “Reluctant by Design,” acrylic/Okawara on panel, 32x28 in., 7)

Highly regarded Robischon Gallery artist Pard Morrison currently has ten dynamic freestanding sculptures lining the walkways of the Fort Collins Botanical Gardens for his solo exhibition, 𝐶ℎ𝑟𝑜𝑚𝑎𝑡𝑒𝑐𝑡𝑢𝑟𝑒. Inspired by the colors of leaves, flowers, and shifting seasonal textures vibrantly on display across the grounds of the Gardens, Morrison’s varied and bold totemic sculptures offer unexpected and engaging geometry, enhancing their lush floral surroundings.

Morrison’s practice, intertwining surface and form, merges painting and sculpture into a kind of hybrid, articulating a sophisticated approach toward geometric abstraction through meticulously hand-fabricated aluminum structures and richly layered surfaces. Chromatic, vertically and horizontally unifying elements reveal the artist’s deep sensitivity to pattern and palette, while subtle brushwork introduces a distinctly human touch. Fundamentally concerned with the human experience, Morrison views the “fusion of surface and medium as an applicable metaphor for the human condition,” a philosophy that resonates within these sensitive and spirited, uncommon works.

Enjoy this glimpse of Morrison's stunning garden installation - 𝐶ℎ𝑟𝑜𝑚𝑎𝑡𝑒𝑐𝑡𝑢𝑟𝑒 is on view through September 27th at the Gardens on Spring Creek in Fort Collins for all Colorado visitors.

Images: 1-5) Pard Morrison exhibition 𝐶ℎ𝑟𝑜𝑚𝑎𝑡𝑒𝑐𝑡𝑢𝑟𝑒 at Fort Collins Botanic Gardens, 6) Portrait of Pard Morrison, courtesy the artist, 7) Pard Morrison solo exhibition, 𝐸𝑣𝑒𝑟𝑦𝑤ℎ𝑒𝑟𝑒 𝑌𝑜𝑢 𝐺𝑜 𝐿𝑜𝑣𝑒 at Robischon Gallery.

THANK YOU to everyone who joined us for Thursday evening’s opening celebration of our four exhibitions: 𝐼𝑛𝑡𝑒𝑟𝑟𝑢𝑝𝑡𝑒𝑑 𝐿𝑎𝑛𝑑𝑠𝑐𝑎𝑝𝑒 by Tom Judd; 𝑁𝑒𝑤 + 𝑅𝑒𝑣𝑖𝑒𝑤 by John Buck; 𝑇ℎ𝑒 𝑂𝑡ℎ𝑒𝑟 𝐸𝑛𝑑 𝑜𝑓 𝑡ℎ𝑒 𝑇𝑒𝑙𝑒𝑠𝑐𝑜𝑝𝑒 by David Hytone; and 𝑆𝑡𝑖𝑙𝑙 𝑃𝑜𝑖𝑛𝑡 by Stephen Batura.

The diverse exhibitions on view explore the intersections of landscape/history, and memory/symbol through each artist’s signature mode of painting, sculpture, drawing and mixed-media techniques. We are particularly grateful to the artists for their extraordinary work - and to everyone who celebrated this exciting opening with us. We invite all to experience these extensive and vibrant exhibitions - open now through Saturday October 31st!

Tom Judd Stephen Batura John Buck David Hytone

We invite you to join us for a reception on Thursday, September 10th from 6-8pm at Robischon Gallery, celebrating four solo exhibitions featuring work that explores the intersections of landscape/history and memory/symbol from artists Tom Judd, John Buck, David Hytone and Stephen Batura. Enjoy this sneak peak of select detail images.

Together, these compelling exhibitions offer entry into the surreal - four distinct worlds that spark the imagination as each artist rigorously explores a signature visual language rooted in poetic and highly symbolic investigations.

Philadelphia artist Tom Judd presents methodically layered nature-based work surrounding his expansive solo exhibition, 𝐼𝑛𝑡𝑒𝑟𝑟𝑢𝑝𝑡𝑒𝑑 𝐿𝑎𝑛𝑑𝑠𝑐𝑎𝑝𝑒, on view in the front gallery. Acclaimed artist John Buck’s in-depth 𝑁𝑒𝑤 + 𝑅𝑒𝑣𝑖𝑒𝑤 solo exhibition features new landscape panel drawings alongside his celebrated free-standing carved wood and bronze figures. Inventive Washington artist David Hytone boldly embraces the stratified and symbolic in complex Okawara paper on panel paintings which fluidly blend abstraction and representation in 𝑇ℎ𝑒 𝑂𝑡ℎ𝑒𝑟 𝑆𝑖𝑑𝑒 𝑜𝑓 𝑡ℎ𝑒 𝑇𝑒𝑙𝑒𝑠𝑐𝑜𝑝𝑒. Notable Colorado artist Stephen Batura presents dreamlike, anachronistic paintings ranging from small to large scale in the viewing room for his solo exhibition, 𝑆𝑡𝑖𝑙𝑙 𝑃𝑜𝑖𝑛𝑡.

Please join us, and three of the four artists John Buck, Tom Judd, and Stephen Batura, at the reception on Thursday, September 10th, as we celebrate all four artists and their singular perspectives and intriguing visions.

Images: 1) Tom Judd, “Mountain Peaks and Gray Jay,” (detail) oil on panel, 70 x 96 in., 2) Stephen Batura, “perch,” acrylic on panel, 24 x 36 in., 3) David Hytone, “Bouquet for Deaf Ears,” (detail) acrylic, okawara on panel, 32 x 28 in., 4) John Buck, “Garden of the Gods,” (detail) pen and ink on wood, 26.5 x 32 x 2 in.

Installation is nearly complete at Robischon Gallery for our four upcoming concurrent solo exhibitions OPENING THURSDAY September 10th from 6-8pm.

Featured here are two of the four uniquely accomplished artists: historically important sculptor, John Buck and highly inventive painter, David Hytone. The artists boldly embrace the surreal and symbolic, in complex modes both abstract and representational. Through their remarkable and distinctive vocabularies, artists John Buck and David Hytone offer imagery with the intent for broad interpretation, artfully prompting a kind of dream logic.

Join us on Thursday for John Buck’s 𝑁𝑒𝑤 + 𝑅𝑒𝑣𝑖𝑒𝑤 and David Hytone’s 𝑇ℎ𝑒 𝑂𝑡ℎ𝑒𝑟 𝐸𝑛𝑑 𝑜𝑓 𝑡ℎ𝑒 𝑇𝑒𝑙𝑒𝑠𝑐𝑜𝑝𝑒 alongside two equally exemplary exhibitions, Tom Judd’s 𝐼𝑛𝑡𝑒𝑟𝑟𝑢𝑝𝑡𝑒𝑑 𝐿𝑎𝑛𝑑𝑠𝑐𝑎𝑝𝑒 and Stephen Batura’s 𝑆𝑡𝑖𝑙𝑙 𝑃𝑜𝑖𝑛𝑡. Together, and individually, all four concurrent solo exhibitions transform the familiar and identifiable into poetic imagery both timeless and present - embracing cultural and historical touch-points generously open to interpretation.

Images: 1&4) John Buck, “Flying Horse,” cast bronze, 71 x 48 x 26 in., 2&3) John Buck, “The After Thought,” jelutong wood and acrylic, 36 x 66 x 5 in., 5&6) David Hytone, “According to Page 237n of the Owners Manual,” acrylic, okawara on panel, 48 x 36 in., 7&8) David Hytone, “Same As It Ever Was,” acrylic, okawara on panel, 24 x 28 in.