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WBM february 2021
THE next day, a shy
Roberts, with brushes
and paint in tow,
showed up to a full-blown
audience.
“I walked to an open area in the
monastery,” Roberts says. “There
was a big canvas on the ground and
Sergej was there with all of his stuff.
He leaned down and made marks
on the canvas and I responded. He
went, and I went. Almost like playing
jazz, you respond to the guy before
you and something comes of it and
grows.”
An hour passed. The painting
seemingly was complete when
Roberts covered his body in white
gesso paint and placed himself on
the canvas. He recalls the crowd
applauded but Roberts, so wrapped
up in the creation itself, didn’t know
what would happen or come of the
meeting.
The following year, he debuted
40 pieces of his body print series
at the National Museum in Struga,
Macedonia. While it’s safe to assume
the impromptu experience at the
Osogovo Monastery could be an
influence, he also sought to under-stand
contrast.
“Unlike my normal paintings, the
body prints were inspired by prehis-toric
cave art, the colors of the walls,
the black of the smoke, the yellow
and red and ocher of the paint, the
drama of the use of white,” he says.
“I used white rolled naked people
to print on pre-painted paper, skin
being the largest sensory organ and
the most relatable.”
Roberts’ time in Macedonia set
the groundwork for co-founding
the No Boundaries Art Colony with
Pam Toll and Gayle Tustin in 1988,
when he was working full time as
the curator of exhibits at the North
Carolina Aquarium at Fort Fisher. The
job allowed him to practice and exer-cise
some of his favorite elements of
creating — color and composition.
Yet he still wanted to give back from
his experiences abroad.
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