Bob Ransley has lived in places as far-flung and diverse as Sedona, Arizona; St. Louis, Missouri; Daytona, Florida; and Savannah and Atlanta, Georgia. He says every couple of years he feels the urge to move somewhere different in order to expose himself to new scenery, meet new people, and gain a fresh perspective. This appetite for thrusting himself into unfamiliar surroundings is much more than restlessness; it springs from a well of dynamic energy and intellectual and emotional inquisitiveness that drive his passion for painting.
His typical day begins with a drive to his favorite coffee shop in whatever environs he currently lives. Here he orders four shots of espresso, which he downs in short order while visiting with other coffee shop regulars, discussing politics, religion, philosophy, and of course, art. Returning home to his studio, he puts on a favorite upbeat musical piece and begins to paint.
Bob describes his morning work as visceral. Allowing himself to apply paint to canvas spontaneously, he consciously blocks all impulses to plan or judge. His tools of choice are small trowels and a mammoth palette that covers the top of a table.
“Color is my vocabulary. I’m always trying to create new colors that no one has ever seen. Whereas words are finite and limited in the ways they can be combined, the possibilities of color are infinite.”
In early afternoon he returns to the canvas to perform keen critical analysis of the morning’s efforts. Is that line too controlled? Is it the right shade of color there? Does the piece work? It is then he makes corrections, effects changes, and at times, paints over the entire canvas.
Bob’s energy and discipline place him among the most popular painters in the country, his work hanging in the best galleries throughout the United States. His paintings are characterized by their oversized canvases and combination of lively tones and hues. Whereas in the past he has focused on still life, landscapes, and human figures, for some time his primary motif has been animals.
“I’m never happy with my paintings, and I believe that’s a good thing. If you get to the point where you’re satisfied, that’s when you stop struggling. I always think my next painting is going to be the best I’ve ever done.”