Ru's works are expeditions into our common and universal subconscious, moments and experiences which we share, but cannot be shared.
Ru Knox is a British painter working primarily in oil paint on canvas. Ru Knox studied for over 10 years under the tutelage of Charles Cecil in Florence. He then became a tutor at the Studios. Ru went on to complete a master’s degree at City and Guilds of London Art School.
Ru has a rare and potent emotional expression which has culminated from years of imaginative experimentation with various painting techniques and textures. His Florentine observational precision and handling of the paint, textures and forms capture the psychology and immortalise the souls of his sitters.
Ru’s works are expeditions into our common and universal subconscious, moments and experiences which we share, but cannot be shared. Our dreams are the only things that belong solely to ourselves. These otherwise innocuous abstracts give way to a complex and fraught inner emotional life.
Through experimenting hypnagogic and hypnopompic states, Ru captures the fraught and fickle nature of the human dream in a way that is positively Freudian, shapes melt into one another, the mind drifts in and out of consciousness, what was once obscured, distant and cloudy suddenly becomes vivid and crystal clear. In our dreams we smell smells we have never smelt before, hear songs we’ve never heard before. Everything makes sense if only for an instant: More real than reality itself.
His works are expeditions into our common and universal subconscious, these are moments and experiences which we share, but cannot be shared. They take us back to the origin of the importance of paint as a medium; as a methodology of communication: paint as a pen, artist as storyteller, mystic, and sage.
Our internal emotional adventures can be just as compelling as our real world external physical excursions; our mental life predates the multiverse by some two hundred thousand years.
Everything makes sense if only for an instant: More real than reality itself.
Rupert’s eschews overt intellectualism in favour of an innate form of mentalism; what have might in times long past been ascribed to spiritualism, has now thanks to psychology and a deeply modern understanding of the the human mind been ascribed to science. More natural than nature itself. Our dreams are the only things in that belong solely to ourselves, we cannot share them, we strive desperately to communicate them, be it in song, in pictures, or even in the formation of movements, but no one, despite how hard we try will ever see things exactly as we do. We might recant to our partner exactly what happened when we awake, but no sooner as we can explain the once tangible and graspable becomes as hard to hold as sand or smoke.
