Robert Vargas Invites New Yorkers To Participate in Portraits

Sunday, May 5th 2025 I find myself people watching in New York’s Union Square Park. Enjoying the day with very little to do. Well “very little” by New York City’s standards. Which implies I had a few things I had to do but needed time to think. Union Square Park can be a sensory over load at times for those who may become overwhelmed by the sirens, music, conversations & arguments let alone the over pungent scents of incense, weed, cigarettes and Victoria Secret wearing NYU students. As I sit down and look around a small group emerges infront of me standing in a circle, talking. I notice a member of the group holding art supplies. I think to myself; whats else better to do today but appreciate the creation of art? I begin to wait & watch, unsure of who the artist may be or what would happen. Interested, I glance over time and time again. The group becomes more organized and movements become purposeful. As a gentleman by the name of Abraham sits next to me I inquire, whats going on here? Abraham is a comedian, with a large beard replies “ We are setting up this supplies for artist Robert Vargas, he paints, draws and creates huge murals; you should look him up.”

I unlock my phone and start a Google search, the first result to appear is an Instagram page but unlike most links that appear blue. This one is purple, Ive already clicked this link previously… this was a surprise, but at the same time far from uncommon. I’m horrible with remembering names of every artist I research. None-the-less, the project had already caught my interest prior to discovering the artist.

Robert Vagas is a muralist, an artist and a figurative painter who indirectly commands the room with his eye contact and silence. Allowing the environment to dictate the auditory development of his art creations. Born in __ based in Los Angeles. Robert, begun his passion for creating art as a young child. Some sources claim at the age of two. Robert’s talent shinned from a young age; he may have been too talented some may say. Young Vargas, once submitted his artwork to a contest with local newspaper. Upon the submission of his art and review by the judges. Robert was unfortunately disqualified based off the judges belief that a family member may have drawn the image for him. Unphased by this outcome Robert offered to display his talent for the judges in person, but the judges declined his request.

This backstory of Robert Vargas gave me a glimpse of maybe why he has chosen to make his art more accessible, to not only capture the moment but to display the speed and mindset in which he creates his artworks. 

At this point Robert has chosen a random individual within Union Square park and has begun his process. He tells the subject a statement and returns to his paper and charcoal as he folds a towel and kneels down. The connection between the subject and artist remain undisturbed during the process, no matter the amount of outsider presence. 

After every portrait is completed Robert introduces himself to the newly founded audience of spectators and during one of these moments a viewer interrupted his speech to ask a question. Although it was Robert’s “moment” he paused to give the viewer the respect to answer. This displayed to me the dedication that Robert applies to his notion of forwarding accessibility through creating a community displaying respect to the audience who has taken the time to stop, view and provide critiques of his artworks. 

The Duality of Perspective and Integration 

May 6th, 2025 Team Vargas began to set up for day two in Union Square of day two of Portraits of New Yorker. Vargas is also in-between the completion of two murals he is currently working on in Bushwick and Williamsburg. I start to wonder how a man who was sick in bed, enduring a fever, cold sweats and barely eating less than 48 hours ago could bring himself outside to interact with various citizens? He responded at a dinner table to this question “Creating is all I think about even when sick in bed; my top priority is when will I be able to share and create again?” Though Robert said “ all he thinks about is creating” doesn’t imply that he therefore knows what he will create or how it will be created. He stated on Monday “Although I am creating two murals in Brooklyn this week, I do not know what they will look like or what specifically they will be.” 

What does success look like for you? I asked; Robert looked around the table at Team Vargas and responded, “This! The community, the friends & comments of enjoyment we share.” There is a moment of when you begin to question the validity of these statements. I do not disagree that Robert enjoys his team nor that his team enjoys being around him. But, I did begin to question if there is a layer of selfishness? 

Robert paints portraits of others, he provides a single line of direction and expects you to follow his direction. Since he is the artist which provides an understanding to why enforcing a standard could be implemented but in the same instance if you are the subject with provided directions to follow; does this instruction now reflect within the artwork? Would this not impact the outcome? Robert admits he is providing accessibility to his art, although the artworks are not being given to the subject of the portrait nor is his asking for money to fulfill the cost of supplies or labor.

Robert Vargas embodies a methodology of organic selection for participants with embodying an organizational matrix structure ingrained with social interaction within his team and outside entities. A complex methodical process where a sole individual is performing the decision-making duties, in a group setting, the team decisions are pre-determined by Robert without the team’s knowing or understand depending on their higharchy but the outcome of the structure can change & emerge organically through interactions and discussions, as opposed to a predefined or structured process. In the context of social interaction, this means independent individuals are able to participate freely in conversations and contribute their perspectives, leading to a collective outcome.

Robert will only ask a person to be his subject once. If you accept you will be now engraved within Robert’s collection. If you decline and return later the moment has ceased to exist and likely another person has been chosen. Viewers can request but will face a high chance of not becoming the subject of chosen. I asked Robert about this methodology of choice and how his participants are chosen.

“It is within the moment, there is a moment of selflessness and energy that commands my attention”

Unexpectedly during my coverage of Team Vargas’ time in New York. Robert pointed towards my direction during his selection and asked for me to be the subject of his next portrait. During this moment I turned around looking for the person behind me unassuming that he was speaking to me. As I turn back around to notice there wasn’t another person behind me Abraham says “Camara, you”. In my head I wonder why me? Questions begin to ring throughout my head as I accept the offer, intrigued to learn the process that a linage of subjects have experienced prior.

As I sit down on the steps of Union Square Park with in a black long sleeve shirt and the same slubby denim that I consistently wear. Robert approaches me and gives me his light instruction “Keep eye contact and do not look at the artwork.” Sounds simple, right? Robert retreats back to his station and kneels on a towel and leans forward and looks directly into my eyes as I look into his. During this moment I recalled every time I have spoken with Robert and this eyes contact was different; it was steady and focused. This provided a sense of his observation skills, although Vargas is looking directly into the subjects eyes mentally he is computing every facet of your image. Every curve, shape and how the external environmental factors play a role within his creation.

This process provides a moment of realization for the subject, because as individuals we normally look in the mirror and have our own perception of ourselves. This process gives you an external view of how others view you, when walking down the street you may only see someone for a second when passing them. Internally you may conceptualize their identity through your own perspectives. By the time I completed these thoughts Robert turned the previously blank paper around; I looked down. My face was captured, my very image was solidified, I began to examine my features, the notable slight smirk that is created through my inquisitive face that never seems to disappear. Robert captured it, what about the slight uneven nature of my eyes. Robert captured that also, these are features that when I look in the mirror I fail to notice but have only recognized through photos of myself. In a short period of time, Robert captured things that took me years to notice.

After this moment, my prior wonder about if Robert’s practice had any element of selfishness was extinct. His instructions aren’t to limit you from being yourself or to construct your image, the instructions are a part of the experience, the eye contact, your composure the slight twitches and natural unthought movements that you make decide Robert’s flow. The selfless nature of providing respect during the transactional period of your time and his creation of you becomes intertwined. The thoughts you have stay with you and vica versa. But during those thoughts your facial expressions and nature play a role during the unspoken dialogue created through the eyes.