Bruce Rubenstein stomped the concrete jungle that was New York City circa mid 80’s. His work cannot help but postulate those times though he has since moved on from the locale to the California coast. It is still apparent the city thumps deep in his veins, his paintings, his use of charcoal, his use of the concrete elements sourced through both the geometric shapes he seamlessly pulls into homages to color and shape and above all self-awareness.
Rubenstein aims to stay outside of every box. His work makes it impossible for boxes to be anything but allergic to his works. Die Gruen Maschine, is the epitomic climax of all the substance that makes Rubenstein an artist of his own design. This work is organized chaos, it’s vibrant, it’s redundant without being trite or excessive. Die Gruen Maschine harnesses an energy that is difficult not to feel. It strikes a balance between routine and spontaneity.
Visualizing the vitality of Rubenstein’s Die Gruen Maschine is equivalent to getting drunk off Time Square’s overstimulating light show of nightlife and the notorious speed of a New York minute. It is calm yet distressed but absolutely sure of itself despite the war between colors and shapes, there is amnesty. This work upholsters itself to, Rubenstein’s own words, no preconceived notions, no meditation to determine the anatomy of the work, the goal instead is simply, expression.