Interview: Artist Robert Foster

We live in an age of destruction…
Sculpture by Robert Foster

I first encountered the work of artist Robert Foster at this year’s de Young Open (an ongoing exhibition featuring over 800 Bay Area artists, closing January 7). With much of the other artwork hung floor to ceiling throughout the gallery, Foster’s large white sculpture stood out, both for its construction and its distinction from a massive array of surrounding colors. 

Titled We live in an age of destruction…, the piece is best described by Foster himself in an accompanying artist statement: “Why must human beings destroy each other physically and emotionally? Why do war and conflict always exist somewhere in the world? Using images of the Russian/Ukrainian war as a background, this piece explores the excruciating pain, stress, and intensity of war and conflict. It is meant to elicit contemplation of a troubled world and honor the strength and tenacity of resistance. I attempted to tell this story relying only on shapes, textures, and a single predominant color. The buildings spell out messages in braille from both the egomaniacal Russian leader and the courageous Ukrainians. 3-D depictions of destruction and despair appear alongside symbols of hope, rebirth, and resilience.”

Foster’s artistic endeavors are partially informed by his experience as a surgeon working at UCSF, as well as his personal medical experiences. I connected with him following the exhibition for a follow up interview to discuss his work, inspirations, and more:

What are some of the ways in which your work in the medical field and your work as an artist intersect? What makes you passionate about both of these careers?

I felt I had some artistic ability as a kid, and I loved to use my hands so when it came time to figure out what type of doctor I should be,  surgery seemed to be the best option and plastic surgery was the most creative. I was good at spatial relationships and to this day when I look at a patient who just had a cancer removed, and I have to figure out what to do, I can see the dotted lines in my mind showing me where to make the next cut. The materials I have used as a physician have informed my practice as an artist. For example, the form of plaster I commonly use is also used to make medical casts and splints. In addition, through my work I meet a broad spectrum of patients with many different cultural backgrounds. It was the conversations I had with my Ukrainian patients that inspired my current piece at the de Young Museum.

Passion about my medical practice comes from wanting to help people and having a skill to do so. Passion for art comes from a need to express my thoughts and feelings and ultimately to impact change in the world for the better. They both put me in a state of flow which is an incredible moment of uninhibited creativity and subconscious decision making–a place I never want to leave once I am there. 

Please tell us about your piece And Then the World Changed.... What inspired this work, and what was the creative process behind it?

“And Then the World Changed..” was my piece that was displayed at the DeYoung Open in 2020. When the open call for art went out to the Bay Area, I was dealing with my own health crisis requiring brain surgery. A brain tumor was discovered incidentally while I was being tested for something else. I was always helping others but now I was the patient. I hadn’t been sick other than a cold or the flu since childhood, and throughout my surgical training and career I had never taken a day off other than planned vacations. Within 10 days of getting the diagnosis I was headed to the operating room not knowing if I would think and move normally or even wake up. Because Covid was raging and loved ones were not allowed in the hospital, I was forced to say goodbye to my wife at the front door. Thankfully, the tumor was benign, completely removed, and I was fully functional. I had 3 weeks before the de Young submission deadline and was told by my surgeon not to do anything remotely strenuous for 6 weeks, and “whatever you do, try not to sneeze.” As far as the sculpture, being a native New Yorker transplanted to San Francisco in 1995, I was struggling with guilt for being across the country during 9/11 and now during the Covid crisis. With my new found appreciation for the fragility of life and the sudden confrontation with life and death, I wanted to honor the strength and resilience of New Yorkers. Two panels tell a story through the use of braille based upon a collection of sources including writing excerpts from EB White, Joan Didion, and the 1921 film Manhatta, extolling a love for NYC. More universally, my work honors any city impacted by crisis that endures and overcomes the threat to its existence such as is occurring in Ukraine right now. Plaster in the form of a mesh, usually used to make medical casts and splints, was used to highlight the architecture and design of a cityscape and to represent bandages used to repair an ailing city, while giving the overall piece a ghostlike appearance. A central theme in all of my projects explores the process of deconstruction and reconstruction, which has been the focus of my career as a reconstructive plastic surgeon working with cancer patients. You could say that experience “changed my world” forever.

Much of your work is focused on global socio-political issues. What are some other pieces you have done or are working on that best reflect this theme?

I am currently working on a piece that addresses the U.S. response to the Covid crisis. Braille and text are used to highlight the irony and enormity of the tragedy. Tweets from our 45th president during the crisis are printed on a background of primary source material from newspapers telling the story of the pandemic, daily data documenting infection and mortality rates, and electron micrographs of the coronavirus itself (which I am very familiar with from my medical background).

Your interest in the arts began as a child, but you fully embraced its pursuit relatively recently; what sparked this change?

As a child I spent much of my time copying the animated images I saw on television and in books and created my own elaborate fantasy-based drawings, but as my college and medical school studies started to require much of my energy and time, my interest in making fine art remained mostly dormant, and I decided to make my surgical patients the focus of my art practice. This remained true for many years until I happened to watch an episode of Art 21 on public television, a program highlighting the art practices of very accomplished living artists that allowed, through videos, a glimpse of them working in their studios. From that show I discovered Leonardo Drew, an artist based in Brooklyn, NY. This led to me purchasing one of his works and a healthy obsession ensued. One day I expressed to my wife that I would love to meet him. Without hesitation, she subsequently looked him up online where his phone number was listed and surprised me with a visit to his studio the next time we were in New York. He later explained to us that when the phone rings in his studio he never picks up, but the day my wife called he happened to answer the phone. That meeting led to a fast friendship and an invitation to hang out with him as he assembled a huge sculpture at the SFO airport. The subsequent week-long experience of conversation and watching him create ignited a fire within me and an extraordinary passion to make art that I can’t turn off. He was so kind and giving. He felt like the older brother I never had. His advice to me was go find your voice, and I’ve been on that journey ever since.

What are three works of art that have had a profound impact on you? What were your emotions upon viewing them for the first time?

As an adult I developed an appreciation for abstract art. The ability to express emotion and energy through abstract images fascinated me. My first and most impactful experience I remember was seeing “Autumn Rhythm” by Jackson Pollock at the Met Museum. How could so much energy exist from dripping paint? Another significant influence was “Sulamith” by Anselm Kiefer on permanent display at SFMOMA, which courageously grapples with the guilt and horror of Germany’s past. His use of text and texture and literary references to tell a story with deeper meaning and emotion left me with a profound appreciation for what art can achieve. In addition, following the 2020 de Young Open I was curious how other artists had reacted to the tragedy of 9/11, and I discovered “First Butterflies” by Thornton Dial, owned by the de Young and recently on view in its main galleries. I’ve spent hours at the de Young in front of that piece of art. I had never appreciated that fine art could be made from seemingly discarded household materials. 

What are some current goals you are working toward in your artistic career? When is the next opportunity for our readers to view your work?

My most ambitious goal is to have a piece of my art stimulate a conversation that could change the world for the better. Another goal is to someday have a piece of my work acquired by a major museum. The joy of sharing my work and the excitement of having so many people spend time with it, as I have experienced through the de Young Open, gives me the greatest satisfaction. As I continue to make new works, I enjoy sharing my progress on my Instagram account, @robfosterworkinprogress.

Who are a few other artists our readers should know about?

Other artists who have significantly influenced me include Mark Bradford, Phyllida Barlow, and Ursula von Rydingsvard, all of whom have unknowingly taught me about expressing yourself through materials and the importance of promoting thought, conversation, and community through creativity.

We live in an age of destruction… is available for purchase via the de Young Open; click here to learn more.

Interview by Kate Zaliznock