Richard is a practicing visual artist as well as educator. His extensive travel has taken him into fields of artistic influence where he has absorbed much from the world's important artists.

Richard graduated Victorian College of the Arts in 1981 and has continued to make art in a range of media since then. He has exhibited in Melbourne 1982 and Japan in 1991 and 1995 and his work 'Bicycle Piece' 1981 is in the collection of the National Gallery Victoria. He is currently working on material for a show in Melbourne. You can find all his latest works on Instagram@helveticamediuma. Press the link in the footer of this page.

He works in many media and continues to depict the world around him. 

This page is arranged with the current works at the top, earlier ones are below.

Making pixels for the Brooklyn Sketchbook project.

Seriously, it's alive! 'Ueda', 2016 on screen in April 2018.

Roberts' quest for the depiction of landscape and form in the age of the digital space, has lead him to question the role of seeing; perception, recording, accuracy and the act of interpretation and reproduction. The pixel has become the 'unit of scene'.

On holiday in September 2016 Richard began to develop experiments into the role of the pixel in recording, storing then reconstructing of space and time. These experiments have been made with colour pencils, mixed media, collage, photo collage, vector artwork, animated photo collage. 

Richard believes in the arbitary so has used grids ranging from 4 to 300 squares. Most of the images here are made at 1 metre square. Camping V2 and Melbourne in March are both 1 x 3 metres in length.

Click on the 'motion art' images to visit the actual moving artworks.

Coming later.

Coming soon.

Shoal Bay Beach, 2019.

Click to visit this motion image.

Sun glistening on the pool, Peppers, Palm Cove, 2018.An experimental work.

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Going Whale Spotting, Shoal Bay, 2018.

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Indigenous Round AFL, 2018.

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Palm Cove and Green Island, 2017.

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Walking from The Deep to the Beach through Peppers, Palm Cove, 2017.

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A Walk on the Pier, Palm Cove, 2017.

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If Love was all I made. 2019. Dimensions in CM: W: 113, D: 48, H: 108.5. Mixed media.

If Love was all I Made. 2019. Detail.

If Love was all I Made. 2019. Detail.

If Love was all I Made. 2019. Detail.

Contains details of “Bush Burial” 1890, Frederick McCubbin, Geelong Gallery.

Shoal Bay Beach, 2019. Vector and raster image digital collage artwork.

Holiday Shoal Bay, 2018. Vector and raster image digital collage artwork V1.2. (Contains images of frame and detail of knee from "Chloe", 1875 by Jules Joseph Lefebvre. Owned by Young and Jackson's Melbourne).

Holiday Shoal Bay, 2018. Vector artwork V1.1.

Holiday Shoal Bay, 2018. Mixed media 80 x 120 cm. Putting ideas about perception and recording back through digital to analogue.

Holiday Shoal Bay, 2018. (detail).

Holiday Shoal Bay, 2018. (detail).

Camping V2, 2017.

Works incorporated in this work: Panel 1 (left): Dining ware from Coles Supermarkets, Panel 2 (centre): ‘The Last Supper’ copper pressing after (Leonardo da Vinci, 1495). Senate Hearing in ‘House of Cards ‘, season 5. Created by Beau Willimon, based on ‘House of Cards’ by Michael Dobbs, Executive producers David Fincher, Kevin Spacey, Eric Roth, Joshua Donen, Dana Brunetti, Andrew Davies, Michael Dobbs, John Melfi, Beau Willimon, David Manson, John David Coles, Robin Wright. Netflix. Dinner in M*A*S*H, 1970, Directed by Robert Altman, written by Ring Ladner. 20th Century Fox.

Melbourne in March, 2017.

Works on which this homage is based: (Read A-J top to bottom, 1-30 left to right). A1-2, B-F1, G1-2, H1-2, A16-21, H8, J10-14, 16-21 Frame segments from ‘Anguish’ 1878, August Friedrich Albrecht Schenk, National Gallery Victoria, St Kilda Rd, Melbourne. A11, 14-15, B11, B14-21, C13-15, D13-15, G15, I15 Public housing towers, Fitzroy, North Melbourne. B2-5 (Detail from) advertising, Rhodes and Becket, Collins Place, Collins St, Melbourne. B23,24 (Detail from) ‘Young Sick Bacchus’, 1593-4, Caravaggio, Galleria Borghese, Rome. C2, C6, F9, I18-21 (Detail from) ‘Miss Dior, Absolutely Blooming’, Dior perfumes, Ground floor, Myer Melbourne, Bourke St, Melbourne. C9-12, D10-12, E9-12, F12 (Detail from) ‘Anguish’ 1878, August Friedrich Albrecht Schenk, National Gallery Victoria, St Kilda Rd, Melbourne. C16 St Peter’s Basilica, Vatican City. C17, 19-21, F22 (Detail from) ‘After the Massacre of Glencoe’, 1889, Peter Graham, National Gallery Victoria, St Kilda Rd, Melbourne. D16, 17, E17 ‘Apollo and Daphne’, 1622 – 25, Bernini, Galleria Borghese, Rome. E16 Copy of ‘Apollo and Daphne’, after Bernini, C19th, Bendigo Art Museum, Bendigo. C22-24, D22-24 (Detail from) ‘Narcissus’, 1597-99, Caravaggio, Galleria Nazionale d’Arte Antica, Rome. C25-29, D25-29, E18-29, G28 (Detail from) ‘Untitled 2009/10’ (2016.729), Bill Henson, ‘Bill Henson’ Exhibition, 2017, National Gallery Victoria, St Kilda Rd, Melbourne. F23, 24, G23, H24, (Detail from) ‘Untitled 2008/11’ (Various), Bill Henson, ‘Bill Henson’ Exhibition, 2017, National Gallery Victoria, St Kilda Rd, Melbourne. G17, 24, I17, (Detail from) ‘Untitled 2009/10’ (2016.725), Bill Henson, ‘Bill Henson’ Exhibition, 2017, National Gallery Victoria, St Kilda Rd, Melbourne. C18, H15 (Detail from) ‘Untitled 2011/12’ (2016.732), Bill Henson, ‘Bill Henson’ Exhibition, 2017, National Gallery Victoria, St Kilda Rd, Melbourne. C18, D18, H17, (Detail from) ‘Untitled 2011/12’ (2016.732), Bill Henson, ‘Bill Henson’ Exhibition, 2017, National Gallery Victoria, St Kilda Rd, Melbourne. G18, 27, 29, (Detail from) ‘Untitled 2012/13’ (2016.734), Bill Henson, ‘Bill Henson’ Exhibition, 2017, National Gallery Victoria, St Kilda Rd, Melbourne. D19-21, F15-21, F26, 28, 29, G22, H29 Views of installation, Bill Henson, ‘Bill Henson’ Exhibition, 2017, National Gallery Victoria, St Kilda Rd, Melbourne. C3-5, D3-6, E5-7, F5-7, G6 (Detail from) advertising, Seafolly, The Bathing Box, The Strand Shopping Arcade, Elizabeth St, Melbourne. D2 (Detail from) ‘Combat’, 1965, Lee Krasner, National Gallery Victoria, St Kilda Rd, Melbourne. F2, 13, 28 (Detail from) George Clooney, advertising Nespresso store, Emporium, Lonsdale St, Melbourne. F25, G25, H25 (Detail from) ‘Untitled 2009/10’ (2016.728), Bill Henson, ‘Bill Henson’ Exhibition, 2017, National Gallery Victoria, St Kilda Rd, Melbourne. G9, H9, I9 (Detail from) steel mesh, 2003, Mario Bellini (architect), National Gallery Victoria, St Kilda Rd, Melbourne. G11-14 (Detail from) ‘Water window’, 1959, Roy Grounds (architect), National Gallery Victoria, St Kilda Rd, Melbourne. G19-21 (Detail from) ‘Untitled 2009/10’ (2016.723), Bill Henson, ‘Bill Henson’ Exhibition, 2017, National Gallery Victoria, St Kilda Rd, Melbourne. H7, I27, 30, J27, 29 details, Grub Food Van, Moore St, Fitzroy, Melbourne. H10-14 Foyer, ANZ building, Collins Place, Collins St, Melbourne. H19-23 champagne at Floor 35, Sofitel, Collins Place, Collins St, Melbourne. H28 (Detail from) ‘Untitled’ (Date unknown), Bendigo Art Gallery, Bendigo. I8, J7, 8 (Detail from) ‘All Summer Long’, 1998, Rosalie Gascoigne, Bendigo Art Gallery, Bendigo. I10-16 (Detail from) ‘Torso’, Gaston Lachaiso, c1912-27 cast 1937, National Gallery Victoria, St Kilda Rd, Melbourne. J4 shoes, Thom Browne New York, Harrold’s, Collins St, Melbourne. I22, 23 (Detail from) promotional photos, Collarts, Brunswick St, Fitzroy.

Melbourne, 2017.

Tank, 2017.

Sky, 2017.

Melbourne, 2017.

Ueda, 2017.

Ryoanji Kyoto, 2017.

Fuji, 2016.

Benesse House, 2016.

Shinkansen, 2016.

Hiroshima, 2016.

Holiday at Palm Cove, 2016.

Schoolyard, 2016.

Monash Freeway, 2016.

Melbourne, 2016.

Palm Cove Beach, 2016.

Moonrise Palm Cove, 2016.

Silky Oaks, 2016.

Jetstar, 2016.

Eugène Delacroix Liberty Leading the People, 1830. 2002. Mixed media. Approximate dimensions CM: W: 240, D: 100, H: 160.

Eugène Delacroix Liberty Leading the People, 1830. 2002. Mixed media. (Detail)

Eugène Delacroix Liberty Leading the People, 1830. 2002. Mixed media.

Eugène Delacroix Liberty Leading the People, 1830. 2002. Mixed media. (Detail)

Eugène Delacroix Liberty Leading the People, 1830. 2002. Mixed media. (Detail)

During this period Roberts resumed painting. As his daughter and family friends married, he painted pictures to commemorate their weddings.

On this section you will see the large acrylic on canvas from life camping. This becomes the prototype for the digital work looking back in 2017.

Take Care the Colours You Bring, 2016. Acrylic on canvas. (Sorry about the quality of this image just now).

See the Beauty, Read the Signs. 2015. Acrylic on canvas.

For Rebecca and Sam, 2014. Acrylic on canvas.

New Year's Eve, 2013. Acrylic on canvas.

Lunchtime, St Paul's, 1999. Acrylic on canvas.

Lunchtime, Japanese sister school. 1999. Oil on canvas.

324 Stephensons Road, 1999. Oil on canvas.