Artist Statement -

Everyone experiences drawing and painting as children. I was perhaps one year old therefore when I was first initiated into the painter’s craft. I continued these universal beginnings throughout my school years and sporadic courses in college (which gave me few insights into this art). [...] I had only myself as a teacher in the art of painting.

My evolution as a painter paralleled that of art history in general, beginning with my prehistoric period as a one-year-old-clutcher-of-crayolas, groping through Egyptian and Greek periods; a Renaissance period; and then neo-classicism, romanticism and naturalism; impressionism and fauvism; cubism and abstract expressionism.

At nineteen I went to Europe, thirsty for scope and depth in Art which America lacks. Having established myself in the south of France, I absorbed the emanations of the modern masters who had lived and painted there. I was profoundly moved by the bizarre snow storm over La Côte d’Azur on the night of Picasso’s death. No such storm had ever been seen before in April, as old-timers in Nice told me. [...]

Fully acknowledging my debt to
'abstract expressionism', I nonetheless do not consider my art 'abstract' – a word that has been grossly misunderstood when applied to painting. For example, the telescopic blue distance behind the head of the Mona Lisa indeed is abstract, considering that the third dimension of depth is non-existent in the painting. It is illusion, trompe l’oeil. 'Abstract' painting is, on the other hand, not really abstract in the sense of the Mona Lisa, because it does not create an abstract third dimension, but remains a surface holding color and form on it.

Nor can 'non-figurative' be used to denote my painting, another umbrella term used to denote many unrelated styles that have emerged since World War I. All painting depicts figures in one way or another, whether the nudes of Renoir, the squiggles of Kandinsky or the rectangular clouds of Rothko. Painting cannot avoid being

Painting is a non-verbal art form, and most often the names given to the styles (impressionism, cubism, fauvism, etc.) are derogatory in nature, coined by those who were ignorant of the artist’s aims. The best way to determine a painter’s style is not to name it, but to look at it. Beyond looking lurks that most difficult request made by the painter of the viewer: seeing. (excerpt from Crazy Devil Sweeping)


Artist Exhibitions

1975 Galleri Grafikhuset, Stockholm, Sweden
1976 Galerie Robert Hervieu, Malmö
1977 Galleri Öster, Landskrona
Galleri Carneol, Gothenburg
1978 Galleri Futura, Stockholm
1979 Galleri Futura, Stockholm
1981 Galleri Futura, Stockholm (Visual Fugues)
1982 Galerie Seiler, Stuttgart, Germany
Galleri Olga, Stockholm
Galleri Together, Stockholm
1983 Galleri Sassi, Stockholm
1985 Galerie MB, Stockholm
Galerie La Sensitive, Paris
1986 Galleri 17, Stockholm
1987 San Bernardino Cultural Center, California
(twenty-year retrospective)
1988 Galerie MB, Stockholm (Ocean Diary)
1990 Galleri Överkikaren, Stockholm
1993 Galleri Överkikaren, Stockholm (Collage)
1994 Guernica Gallery, Santa Barbara,(Yucca in Bloom)
Feldheym Gallery, San Bernardino, California
1996 Galleri Baggen, Stockholm (Homage to Byron)
1999 Väsby Art Hall, Stockholm (thirty-year retrospective)
2000 Galleri Baggen, Stockholm

1975 Károlyi Foundation for Artists Vence, France
1976 Galerie Remarque, Trans-en-Provence, France
1978 Galerie Remarque, Trans-en-Provence, France
1979 Spring Salon, Liljevalchs Art Hall, Stockholm
1982 Amerika Haus, Munich Germany
1989 Santa Barbara Arts Festival, Santa Barbara



Artist Publications

"Theo Radic comes from America, but has been living many years in Sweden. I have experienced him previously as a genuine colorist, and I do so now looking at his work being shown at the newly opened Gallery Baggen. He works with mixed media. Collage plays a big part. The exhibition was conceived as a homage to Byron. One need not be so familiar with his poetry to appreciate Radic's interpretations. They live their own, free, coloristic lives. Here one sees first of all paintings of nearly informal, expressive character, in a class by themselves. Glittering like jewels in the river of color and light, they display a vital artistry."
(Stig Johansson, Svenska Dagbladet, February 24, 1996)

(20-year retrospective show) "Theo Radic and his paint brushes make beautiful music together. "What I'm after is a symphonic use of color, just as a composer uses musical notes to create harmony," Radic says. And so his oils are a serene mix of colors, cool and peaceful examples of abstract expressionism.
Twenty years of studying and working his art have brought Radic to this point of harmony. He is showing his latest work, and the earlier pieces that led up to it, at the San Bernardino City Cultural Center's art gallery. The variety is startling. He includes the pencil drawings done just after his graduation in 1967 from San Bernardino High School (even the yearbook cover he designed in his senior year is part of the show). The chronological progression moves from still lifes and landscapes to experiments in impressionism and cubism, winding up finally with the layers and layers of color in his current work.
Radic says he spent his early years as an artist doing classical studies of the masters - and feeling inadequate. "I was, like everybody, infatuated with the Renaissance masters," he says. "If you're studying the work of Michelangelo and Leonardo, you develop an inferiority complex."
He dealt with it by moving to Europe, where he spent 14 years in France - living near where Van Gogh, Cézanne and Picasso painted - and Sweden, is wife's native home. His resumé shows a long list of one-man and group shows in several Swedish cities, Munich and Paris.
Radic recently returned to Calfornia and is living in Carpinteria, continuing to work full time on his art. He has another show planned in Santa Barbara and is negotiating for a show in San Francisco.
His inferiority complex has diminished. Prices for his work run as high as $8,000. Radic is tall and soft-spoken, his American-born voice now bearing traces of an undefinable accent, a result of many years of speaking French and Swedish. He tends to refer to himself as a stranger in his own homeland.
The cultural center show is especially pleasing, Radic says, because of the proximity of the gallery to his old high school. The show dates coincide with his graduation day, and he points out that he returned in time for his class' 20th reunion.
Although his work is constantly growing, this sense of coming full circle, of settling down, seems a part of his paintings. They are crowded fields of color, layers of curves and lines that speak with subtlety, yet a firm sense of purpose. Some are more sparse, with more space between the colorful forms. These use bolder colors that jolt, yet blend into the mixed background. "What I'm after is movement, but not violent movement, a peaceful sort of movement," Radic says. That does not mean they are without emotion. "Just like a Chopin etude - he can really start pounding those keys, but there still is harmony."
(Betty Shimabukuro, San Bernardino Sun Telegram, June 6, 1987, San Bernardino, California)


Artist Collections

Numerous private, corporate, museum, gallery and government collections detailed information coming soon.

Artist Favorites