David Tobey started painting in his early childhood in the Larchmont New York studio of his father, the noted historical painter and muralist Alton Tobey. He also had a serious interest in music, fostered perhaps in no small part by his mother Rosalyn Tobey, who was a distinguished concert pianist.

     In his teens, David Tobey studied art at the Art Students League in New York and violin at the Music Conservatory of Westchester. He subsequently gained admission to the Julliard School of Music and graduated there with a performance degree in 1975. He also holds a Master's degree in Studio Art from The College of New Rochelle, in the city where he lives. David Tobey enjoys a busy career as a violinist and teacher. He performs with many of the New York City freelance orchestras, such as the Radio City Christmas Spectacular and Broadway shows. He is also a member of the Westchester Philharmonic.
   Visitors to this site may also be interested in knowing that David was recently informed in a letter from Joseph W. Polisi, President of the school that he was selected in August 2004 as one of a diverse group of 100 outstanding alumni of The Juilliard School for inclusion in a special publication commemorating the School's Centennial to be published in 2005-2006.

     For more information on David Tobey's orchestra and his work in music see the Larchmont Gazette's recent feature article.

EXHIBITIONS:

Gallery 49, New York City
Mooney Center Gallery, The College of New Rochelle
The Steve Bush Gallery, New York
Salon West II, New York
The Outer Space Gallery, New York
The Larchmont Public Library, Larchomont, NY
The Art Barn, Greenwich, CT
ISOA Gallery, Greenwich, CT
Neustadter Galleries, DelRay Beach, FL
The New Artists Show, Madison Square Garden, NY
The Washigton Square Outdoor Art Exhibit, New York

COLLECTIONS:

Julliard School, Lincoln Center, NY
Katz Communications
New Jersey Gas & Electric
Golumb & Sindel LLC, New York City
Sally Thomas Music School, New York City
The Meadowmount School of Music, Westport, NY
Lee Wagner at Rancho Mirage, California
Dr. Mark Abramowitz, Larchmont, NY
Dr. Daniel Ross, New York City
Dr. Marvin Berman, Larchmont, NY

 

     His artwork has also been published by SCAFA, Modern Art and Ray Greenberg Art Publishing and he is currently Co-chairman of The New Rochelle Council on The Arts.

 

ARTIST'S STATEMENT

     

"The Structure of Energy"

        While creating “The Structure of Energy,” I intuitively dealt with some of the concepts of modern physics. In my abstractions, plasma-like bursts of energy, describe primal power and speed. This is unseen in the stable structures of our reality.

        In Quantum Mechanics only one variable can be measured at a time: speed or location. My solution to this Quantum dilemma is realized using my expressive interpretation of speed through paint. I use this as a new measurement criterion. Location is visually obvious and the painted gesture denotes, as well as defines the rate and power of its velocity.

        In these works speed is matter (paint) and matter is speed. This illustrates the commonality of matter and energy. This visually unites the cause and effect of Einsteinian theory and Quantum thought. In painted movement, nature is determined by the roll of the dice, which is unacceptable in Einstein’s theories.

        Color activates vibration, which in turn gives my abstractions life. A painting is a harmonious construction of different vibrations applied on a canvas. Through color, the viewer is able to vibrate in harmony with my work.

        I instinctively stayed away from the established use of collage. My use of shapes and objects become a vision of mystery and subsequent discovery. The surface treatments on canvas, such as bulges, thickness variations, and shaped objects under the paint, are manipulated as if by a hidden force. The work’s composition is determined by the cohesion of this force.

        All that exists is present in some dimension in the abstract concept of space and time. The all-important 4th dimension “Time” glues the elements in a common bond with the micro and macro universe. Representation of time in my paintings is accomplished by degrees of depth, layering, and by the linear unfolding along the varied rhythms in the painted gesture.

        My paintings can be fully experienced and understood by following this complicated undulation of angles and curves. Motion can be felt by the viewer. This linear unfolding in “time” links my visual work with music, the ultimate abstract art form.

        One aspect of my work explores the aesthetic between visual abstraction and music. There is a clear connection between my paintings and the concepts of harmony, line, rhythm, shape, color, balance, and dynamics. Yet, I feel that the most important connection is with the dimension of time. Time is experienced within the mind and body of the viewer. This synthesis of the two arts can happen within this common denominator, time.

        This confirms my conviction that abstraction in art can represent the many levels of existence only partially defined by science. Science deals with the universe of measurable quantitative results. It is well controlled and with fixed conditions. There is no room for approximation or expressive content. Therefore, the major missing ingredient in science is “ feeling.” Feeling is an instantaneous and variable response. It is multi-layered, travels incredibly fast, and might even transcend time. Feeling is the force within a painting that allows it to pulse with presence and identity. A painting is complete when it lives within the viewer.

-- David Tobey
2/27/04