Born in London, Robert studied painting at Chelsea School of Art with Euan Uglow, Craigie Aitchison and Jack Smith and received a BA Hons Fine Art.
He has been awarded bursaries from The Pollock Krasner Foundation in New York and a Spanish Government Scholarship to paint in Spain for 1 year.
He has exhibited at numerous London galleries and over the past 6 years has produced larger-scale paintings on a commission basis for Saigol DDC for high-end private residencies in Central London.
He recently completed a commission for 20 paintings that were projected on stage for an Opera production at The Riverside Studios in Hammersmith.
Below is an extract from a conversation between Robert and John Marchant of John Marchant Gallery in 2015
Robert Sosner's paintings are beautifully poised accumulations of process, often exhibiting layer upon layer of minute adjustments and repositions of shape and colour in their surfaces and edges.
''It's about the shape. It's all about the shape and it's about finding the shape rather than stating the shape. So the shape has to arrive and it arrives through an intuitive reworking of the whole shape each time and I'd say these works in particular have been about reducing as well. Reduction to what's important....''
Robert Sosner in conversation with John Marchant. March 2015
In something of a constant, the pivotal and defining shapes in Sosner's paintings escape the confines of the rectangle, adding both a sense of possibility but also compressing the experience and attention of the viewer onto the plane of the work itself where the ripples and accretions engender the desire to touch with the fingertips. It is notable that the edges of many of Sosner's shapes display their development - augmentations and subtle amendments are documented in these spatial thresholds, a tiny sliver of alternative colour - perhaps a small slash of green between blocks of pink and blue - will give away the historical process of harmonisation, of honing, of reassessment, of consideration, until the work is balanced and completed. These markers are delightful insights and thankfully left in for the viewer to enjoy. Additionally, employing collage as an integral part of the pictorial development process, Sosner will often incorporate these panels of paper into the surfaces, adding both texture and text to the 'reading' of the work.
John Marchant 2015