Les Rogers’ work fearlessly addresses the challenge of modern painting: namely, to paint the world as it feels, as opposed to how it looks. Past bodies of work that contained historical allusions and hints of realism have been advanced to a stage of wildy gestural abstraction - fluid shapes of saturated colour expand and contract under the eye.
When discussing his work Rogers has claimed “if everything is too much in what seems to be it’s proper place, I have to go back and throw it off balance.” He takes pride in this staunchly off-kilter aesthetic, destabilising pictorial space with a promiscuity of style. An abstracted disequilibrium has become part of his visual fingerprint, preferring to believe in ‘broken’ paintings rather than a regimented composition - it is here that the influence of Picasso, Motherwell and de Kooning are most palpable. Rogers paints quickly, implementing a process that’s both intuitive and spontaneous, followed by a more ordered phase of reworking, slowly adding and subtracting painterly layers. He has said that he can work for two months on a painting, but there may be as little as five hours of actual painting time involved.
Rogers was born in 1966, and currently lives and works in New Jersey. He received his Bachelor of Fine Arts degree from the Rhode Island School of Design in 1989. Rogers has had solo shows at Galerie Suzanne Tarasieve (Paris); Leo Koenig Inc. (New York, NY); Half Gallery (New York, NY); Peter Makebish (New York, NY); The Happy Lion (Los Angeles, CA); Galerie Christina Wilson (Copenhagen, Denmark); Galerie Michael Janssen (Cologne, Germany); and Karlheinz Meyer (Karlsruhe, Germany), among others. His work has been included in group exhibitions at Galerie Kornfeld (Berlin, Germany); New Jersey Museum of Contemporary Art (Wickatunck, NJ); Haunch of Venison (New York, NY); and Apexart (New York, NY). Rogers’s work has been reviewed in publications including Artforum, Art in America, The Los Angeles Times, The New Yorker, and The New York Times.