Know Art,
Know Life.

ROBERT FUERER • Visual Artist

With his lovely wife & Muse Erin

Artist Statement:

“I paint to make ordinary scenes come alive,
using vivid colors and bold strokes to capture
stories that make you pause.
My goal is simple: evoke emotion.”

— Robert Fuerer

Artist Biography

Robert Fuerer, b. 1977

As a Swiss-born American artist,

fluent in Mandarin, and experienced in living and working in Asia and America, Fuerer brings a unique intercultural perspective to his art. His education at the State University of New York, School of Art + Design, at Purchase College, provided him with the ideal environment to cultivate his talents as a contemporary “flâneur” – a painter and observer of the urban and rural landscapes that surround him. Since earning a BFA in Oil Painting at SUNY in 2009, Fuerer has been sustaining both himself and his family through his art—a blessing for which he expresses gratitude to God each day.

How do you pronounce Fuerer?

It’s pronounced like “Fyur.” similar to the word “Fury” without the “ee” sound at the end.

Am I related to Germany’s tyrannical dictator the Führer?

Certainly not. I’ve encountered this question countless times. During my childhood, prank calls were a weekly occurrence during dinner, with people shouting hurtful comments. To cope, we started taking the phone off the hook at dinner time. While my last name shares pronunciation with “der Führer,” meaning “the Leader,” the only connection lies in the name. My genealogy on my dad’s side traces back to Joseph Fuerer, residing in Switzerland since the 1700s, and all his descendants but My family have continued in Switzerland for generations.

What does the Chinese character mean in your signature?

Since 2023, I made the decision to incorporate the Chinese character 信 (Xìn), pronounced “Sheen” in English, into my signature. This character, meaning faith, holds a special place as it was given to me in 1996 during my time at the MTC by my first Chinese Language teacher Miss Shauo from Taiwan. She believed that my abundant faith made it a fitting addition to my name, making my full Chinese name Fang Peixin 方培信.

Embracing a newfound optimism, my rejuvenated approach to life yearns for a signature that transcends, aspiring to be the conduit through which art and service intertwine, spreading joy and blessing others. The inclusion of 信 reflects not only my commitment to faith in Jesus Christ but also the meaningful connection to my Chinese identity. It’s a reminder of the cultivation of faith, as represented by the characters 方 (Fāng) for square and 培 (Péi) for cultivate in my name.

On a lighthearted note, when things go well in our life, my lovely wife Erin humorously remarks, “It’s because I’m with faith squared.”

How do you prefer to be addressed, Rob, Bob, or Robert?

In the U.S., My friends call me Rob, while in Taiwan, they call me 蘿蔔 (luóbo), which means radish in Chinese and cleverly represents Rob.

Streets, Museums, and Masters

When Fuerer wasn’t out on the streets of New York City, painting en plein air, he could be found studying the works of the masters at The Metropolitan Museum of Art and the Museum of Modern Art, honing his craft and refining his technique. His deep passion for art and his insatiable curiosity about the world led him to work at The Neuberger Museum of Art, where he had the privilege of collaborating with some of the most celebrated artists of our time, helping to install their groundbreaking exhibitions and learning from their vast knowledge and experience.

Recognition and Curation

Fuerer’s outstanding academic achievements were recognized when he received a full-ride scholarship for his best-in-show piece, “George,” and later graduated Summa cum laude. Fuerer’s remarkable talent and dedication to his craft have earned him widespread recognition. He was handpicked to curate and produce the SUNY “Alumni Cabaret Show” and the “Art is Dangerous show at the Neuberger Museum of Art,” showcasing his creative vision and his ability to bring together diverse artists and audiences.

Apprenticeships Across Asia

Fuerer’s pursuit of artistic excellence has led him beyond his formal education in New York to apprenticeships with renowned artists all over Asia. He apprenticed under celebrated classical sculptor Shei Dong Li in Pingtung, Taiwan, privately learned from master draftsman Zhang Jian Qiao in Beijing, and explored contemporary sculpture with Xu Zi Gui in Tainan. This diverse range of influences has contributed to Fuerer’s signature style, which combines Eastern design and space with Western depth and atmosphere.

Educational Background

Bachelor of Fine Arts, Painting & Drawing

The State University of New York College at Purchase Purchase, NY

The School of Art and Design

Graduated Summa Cum Laude

Down the Rabbit Hole

By Robert Fuerer

Submitted to the School of Art and Design

in partial fulfillment of the requirements for the degree of Bachelor of Fine Arts

Purchase College

State University of New York

December 2009

Michael torten Sponsor

Phil Listengart Second Reader

“Down the Rabbit Hole” refers to the portal where the strange world of my childhood memories enters my art. It is the journey of my senior project. As the paints begin to harden on my paintings and palette, I am amazed at where this year has taken me. This thesis paper is an attempt to understand my journey; to synthesize my internal and external circumstances and transform them into art works.

Although I am an American, I was born in Switzerland, and lived in Taiwan for eight years. I consider myself somewhat of a modern day “flâneur,” a man of the crowd. I am invigorated by the diversity of people that roam city streets. Intersections have become my laboratories; I find them to be little microcosms of modern life. Its close proximity to the city is one of the major reasons I chose to study at Purchase College. Its location allowed me to embark on adventures into the city.

The day I arrived in New York, as I emerged from the dark subway on to 42nd and Broadway, something amazing happened. As I exited the terminal and looked up, the sun snuck through a little crack between the towering canyons of buildings and beamed down on me. At that picturesque moment there was no doubt in my mind of what or where I was going to paint. As the beam of light shone down on me I looked on at the most complex intersection in the world, “Times Square”. See image (01RobertFuerer).

I soon bought a cigar box size easel and took my oil paints into the city and painted small studies at Times Square. Back at Purchase I completed larger works based on the studies. I executed the pieces in bold, and expressive brush strokes.

The use of these strokes is due to my obsession with Van Gogh’s brushwork. I’ll never forget December 19th 2009 when I spent three hours standing in front of the “Potato Eaters” at the MoMA. As a tear rolled down my cheek I was a bit embarrassed. How had a two dimensional plane with pigment and binder on it brought me to tears? Can art actually change the world? How can I affect others in this same way? I began to have a huge desire to make work that people could stay with longer. As I counted brush strokes that made up the faces and hands, I realized that it was the honesty of how the workers were depicted that moved me. Van Gogh captured the emotional character of the workers who could only afford potatoes that they dug out of the ground with their own humble hands.

After that experience in the MoMA with the “Potato Eaters” I realized that the artistic movement called Social Realism intrigued me most. Social Realism was a response to the Great Depression. The style depicts social and racial injustice, economic hardship, and often portrays working class activities as heroic. Social Realism also depicts scenes that typically convey a message of social or political protest edged with satire.

I believe my interest in Social Realism is rooted in the fact that my father is a common person who has struggled because of the class structure in America. Being an immigrant from Switzerland, my father always felt like an “Alien”, as he described it. Painting the workingman is my way to talk honestly about my father and all other people who recive W2 forms for Tax purposes. My father, like the “Potato Eaters,” works to support his family. Most laborers’ lives don’t pan out according to the “American Dream.” However, these workers find purpose in their lives by keeping food on their familys’ tables. The workers depicted in my paintings and sculptures keep “Times Square” moving. They are the glue that holds society together. I see them as beacons of hope, because like my father, they never give up. To me these pieces are portraits of unsung heroes; they are the garbage men, traffic cops, subway drivers, and concession stand workers.

The depiction of workers in the first semester of my senior year became an engaging subject. However, I was not satisfied with how I was painting them. My frustrations came from realizing that the expressive brush strokes that I had applied with brevity were actually overdone. The texture spread out too evenly on the canvas and created a static, visual noise. Beyond texture problems I had also gone overboard by exaggerating a heightened experience of color from the actual scene. I decided the pieces had become what I would call, “colorfully dull.” It is a perceptual phenomenon called cross-cancelling of brightness or saturation. Not knowing exactly how to improve my urban paintings I cleaned my brushes and put them aside.

That is when the global economic crisis of 2008 hit. The collapse of the real estate market devastated my family as well as millions of others. My wife and I lost most of our savings. Those were our darkest hours of marriage. Because of the stress we temporarily separated. I was at an all time low. At the time I was doing one of my typical urban paintings from a study, when I had the sudden urge to destroy something beautiful. Up until that moment most of my art had been about hope and optimism. But that moment changed everything. My appétit for destruction influenced me to jump “Down the Rabbit Hole”. As I did something emerged from the subway or should I say my “sub-conscious.” I remember being so infuriated that I painted a sinister rabbit head over one of the innocent ladies faces in the middle of the canvas. See image (03RobertFuerer).

At the time of painting the first rabbit’s head, I did not realize its’ significance. I continued to follow the rabbit as it became a crucial device of digging deeper into my artistic soul. The question of what it meant plagued me day and night. As I uncovered its identity I was taken back to my childhood. When I turned 8 years old, my life was tainted when my pet rabbit “Black Ninja” twisted into a monster, biting me, tearing out my pet duck’s jugular, and cannibalizing its own babies. It was then that the rabbit’s ears became the handle my father grasped to end its life with one swing of my Louisville slugger bat. The sound of the crunch of its’ skull and sight of its’ lifeless body never left me. I was afraid but pleased, happy it would not kill again. But in the process I had become the murderer. I felt responsible. I trace my loss of innocence back to this moment. The moment I realized that life is full of heartbreak.

This tragic event found expression in my art and then it began to multiply like rabbits. Next, the rabbit’s ears appeared on a sculpture of a woman. This breakthrough excited me greatly. I then traded my brushes in for a sculpture tools. And something amazing happened as I began to sculpt full-time. As I crept further and further down the rabbit’s hole, in my unconscious my creative ideas began to flow and become more spontaneous. I made many sculptures of these “man-rabbit beasts” which I first sculpted in clay. Because of the onslaught of so many ideas for new pieces I devised a way of covering the clay pieces with shellac and gesso that would make them hard enough to display. This approach was liberating, because I didn’t have to stop to make molds for a more permanent material like bronze, risking that the rabbits in my mind might escape. Dismissing the use of kilns and molds gave me absolute freedom to experiment. Through this new found freedom I found that transparencies of encaustic had a life-like effect which I use over collage and mixed medium.

Because the content in my artwork was evolving, the artist I look at for inspiration changed. I stopped looking at David Kapp, and Yvonne Jacquette and started looking at Neo Rauch and the Leipzig School. This gave me new composition ideas and let my mind travel wherever it wanted. I began to sculpt and paint without knowing exactly where the piece would take me. This new method allowed for more freedom; sometimes I removed entire characters or added new backgrounds halfway through the piece. My paintings became a never-ending journey, not a planned station to look forward to.

One of my worker symbols, the garbage man has evolved. On top of the normal duties of his vocational role, the garbage man or working man – wearing his quasi-philanthropist-super hero uniform (being the red executioners jumpsuit) and carrying a baseball bat, battles his arch nemesis, the rabbit. See image (04RobertFuerer). These new narrative developments led to a new approach to my content. My “Neo-Social Realism” took on a new surrealist approach which became a better way to express my ideas. Surrealistic ambiguity allows me to investigate the shady side of capitalism, corporate greed, war, and the loss of innocence through making people ask questions about the works abnormal qualities.

The journey of my Senior Project has taken me deep “Down into the Rabbit Hole.”My work has taken a different route than I ever imagined. My large-scale painterly realism paintings, were an important stop on my journey into my subconscious. In my current work I am excited to see how these difficult themes of social dysfunction are now charged with the pains of my childhood memories along with the current state of middle class America. The figural representation of Social Realism I started out with has matured and has started to take a surrealistic turn. This paradigm shift has also had effects on all other aspects of my process. I now paint with a much broader language and my edge conditions and content has also matured. The struggles it took to make these pieces taught me that narratives should be left open to interpretation. And in the end I was also able to finally lay my guilt of the black rabbit to rest.

Salt Lake Community College Salt Lake City, UT

Graduated with Honors

Mentored under Shei Dong Li (Master Sculptor) for 20+yrs. Pingtung, TWN

Private lessons from Zhang Jian Qiao (Master Artist) Beijing, CHN

Personal Assistant to Xu Zi Gui (Master Sculptor) Tainan, TWN

Artist Statement

My current artist methods began in the vibrant backdrop of New York City during my university days. A spellbinding, encounter with Van Gogh’s “Potato Eaters changed my view of painting and what art could achieve at its highest level in a profound way.” Mesmerized, I saw the workers’ knuckles resembling potatoes, every stroke resonating with the brown hues of their humble meal. As I counted each brushstroke on the weary workers leathery faces, tears welled in my eyes. That experience ignited my artistic purpose—to create works that evoke emotional reactions, mirroring the impact Van Gogh had on me that day.

Drawing inspiration from the world around me, I immerse myself in onsite sketches and color studies to weave narratives that reflect my experiences. I then transfer my subjects into small sculpture maquettes, in turn transforming these models into narrative paintings and landscapes that drive my artistic practice. When I saw my professor moved to tears in class by my painting, “Self Portrait on 42nd,” it marked a pivotal moment in my art – I had struck a chord with my storytelling process. Achieving a genuine emotional connection, akin to what Van Gogh once did for me, it’s a driving force in every element of my art.

During my university years, a transformative shift in my artistic perspective unfolded amidst the global economic crisis of 2008, which negatively impacting my family. This turmoil steered me towards Neo-Social Realism, a potent tool to explore capitalism’s corporate facets, greed, war, and the poignant loss of innocence, and an exploration of social dysfunction. A pivotal moment came after a challenging phone call, leading me to the studio where, fueled by anger and frustration, I reshaped a painting’s main figure into a female with rabbit ears—a spontaneous anthropomorphic depiction that sparked curiosity and engagement among my classmates and professor. This experience reinforced my belief that art is about telling a story, dealing with life’s pressures, evoking emotion, and fostering curiosity.

In the wake of my father’s passing in 2021, a profound shift occurred once again within me, catalyzing a transformative journey from negativity to optimism in my artistic pursuits. Confronting the fragility of life prompted a re-evaluation of my priorities, drawing me back to my heritage and the enchanting landscapes of the Western terrain. Responding to this inner call, I embarked on a journey back home, carrying with me two decades of story collection infused with Eastern views and perspectives. This fusion of influences has become the heartbeat of my art practice, infusing it with renewed vitality and purpose. Reconnecting with extended family, friends, and the majestic Wasatch Mountains has bestowed upon me a newfound sense of belonging. The loss of my parents altered my life goals and outlook, yet their enduring influence, the example of living in the present and connecting with the community now form the bedrock of my artistic engagement and guide my current aspirations.

Solo Exhibitions

2023 The Aboriginal Way, GIEN JIA 挑食 (Currently on view) Kaohsiung, TWN

2019 36 Dreams of Fuji Mt., Kaohsiung Cultural Center Kaohsiung, TWN

2017 Fuerermosa, GIEN JIA 挑食 Kaohsiung, TWN

2016 New York, New York, GIEN JIA 挑食 Kaohsiung, TWN

2015 Green Mountains, Blue Water, & Pink Plastic Chairs Kaohsiung, TWN

What the Rabbit Saw, My Art Gallery Zuoying, TWN

2014 New York, New York, Taichung Culture Center Taichung, TWN

Tell Me About the Rabbits, Tainan Cultural Center Tainan, TWN

2013 It Was Furry With Long Ears, Zhubei Culture Center Zhubei, TWN

2012 The Streets of New York, Brown Coffee and Gallery Kaohsiung, TWN

2011 American Rabbit, Kaohsiung Culture Center Kaohsiung, TWN

I Remember About the Rabbits, The Warehouse Art Gallery Kaohsiung, TWN

2010 Down the Rabbit Hole, Purchase Library Gallery Purchase, NY

2009 Americana, Triangle Gallery Purchase, NY

Selected Group Exhibitions


Mosaics of Christ, Writ & Vision, Provo, UT

In the Shadows, Bountiful Davis Art Center, Bountiful, UT

All Shapes and Sizes, JKR Gallery, Provo, UT

300 Plates, Art Access, Salt Lake City, UT

Holladay Arts Fine Art Show, Holladay, UT


Golden Hour, Bountiful Davis Art Center Bountiful, UT

Spring City Plein Air Show, Spring City, UT

Plein Air Holladay, Relics Gallery, Holladay, UT

Presidents Art Show, Salt Lake Community College Salt Lake City, UT

Holladay Arts Fine Art Show, Holladay, UT

Wasatch Plein Air Paradise, Midway, UT

37 Annual Spiritual Art of Utah, Springville Art Museum Springville, UT

Art on the Green, Green River Wyoming

300 Plates, Art Access Salt Lake City, UT

Tiny Art Show, Holladay, UT


A Framework of Spirituality, Eccles Art Center, Ogden, UT

World of the Wild, Utah’s Hogle Zoo Gallery, Salt Lake City, UT

Plein Air Competition, Eccles Art Center, Ogden, UT

Spring City Plein Air Show Spring City, UT

Presidents Art Show, Salt Lake Community College, Salt Lake City, UT


Art in the Park, Kaohsiung County Center, Kaohsiung, TWN


Return to Innocence, Square Gallery Taipei, TWN


Taiwan Landscapes, My Art Gallery, Pingtung, TWN

100 Years of Taiwan, Chiang Kai-Shek Memorial, Taipei, TWN


Art Echo, Chaozhou Art Gallery Chaozhou, TWN


The Factory, The Chelsea Art Museum Chelsea, NY

Art Is Dangerous, Neuberger Museum of Art Purchase, NY

Best of SUNY Student Art Exhibition, NY State Museum Albany, NY

Wide Open, Triangle Gallery Purchase, NY

The City, Hamilton Gallery Harlem, NY

Art & Horses, Boulder Brook Equestrian Center New York, NY


New York City, Richard and Dolly Mass Gallery Purchase, NY

Critics Choice, Best of SUNY Student Art Exhibit,

State University Plaza Gallery Albany, NY

Small Works Show, Mamaroneck Artists Guild Mamaroneck, NY

Works on the Rye Marsh Land, The Rye Gallery Rye, NY

Gallery Representation

GIEN JIA 挑食 Kaohsiung, TWN

Writ & Vision Provo, UT

Utah Art Market Salt Lake City, UT


Oil Painters of America – Signature

Portrait Society of America

Intermountain Society of Artist

Midway Art Association


Sanpete Messenger, “Plein Air Draws Crowd of Art Lovers to…” Sept. 7, 2023

Lynn Chen, Kaohsiung Art Go Go 12, “I Remember the Rabbits” Dec. 2010

The Connecticut Post, “Making The Art Scene” Feb. 2010

Art Daily, “New Exhibition by Robert Fuerer” Feb. 2010

ConteArt,, “Robert Fuerer” Feb. 2010

Christie Rotondo, “The Man Who Loves Art” Feb. 2010

Pamala Davis, “There’s an Artist in the Library” Jan. 2010

Westchester, “Exhibition At Purchase College” Feb. 9, 2010

Kathleen Kline, The Submission, Issue 23, “Robert Fuerer” Fall 2009

Ebony Brown,, “Best of Show” Aug. 2009

The Journal News, Education Outlook, “Subway” Jan. 11, 2009

Salt Lake Tribune, “Forthgear Names Graphic Designer” Jan. 9, 2001

Selected Public & Corporate Collections


The Thomas Schwartz Collection New York City, NY

Neuberger Museum of Art Purchase, NY

Kengo Kuma Collection Tokyo, JPN

A.K. Collection Kaohsiung, TWN

Eddie Schmidt Collection Zurich, CH

New Balance Corporate Headquarters Shanghai, CHN

State University of New York, Mural Purchase, NY

Worlds Gym Kaohsiung, TWN

Sirdar Collection

Selected Achievements


Full-Ride Merit Scholarship, B.F.A., SUNY Purchase Award of Excellence,

Wild Turkeys, Artist Guild Mamaroneck, Small Works



Best of Show, George, Best of SUNY Student Art Exhibition, Selected Works Competition between 64 SUNY Universities all Mediums


First Place, Seating Dragon, Flying Tower, Taiwan Centennial Art Show, Chiang Kai-Shek Memorial


Best Indoor Signage, Gorilla, Sculpture Award Worlds Gym, Taiwan


Groundbreakers Award,,


2nd Place, KS Harbor, Pier 2 Art Center, Kaohsiung Landscapes


Third Place, Autumn by the Mountains, Holladay Arts, Plein Air Competition

Honorable Mention, Sanpete, Bountiful Davis Art Center, Plein Air Competition


Calendar Feature, Follow Me, Deseret Book, Mosaic of Christ Exhibit

First Place, First Light on the McPolin Farm, Bountiful Davis Art Center, Plein Air

Artist and Educator

Renowned artist and instructor Robert, with over 25 years of passion for painting and teaching, extends his expertise to personalized one-on-one classes. Founder of multiple successful art academies in Taiwan, he’s inspired over 1000 students for 21 years. Now, from his home studio in Sandy, Utah, Robert provides tailored guidance for artists aiming to elevate their craft. Whether you’re a beginner or seasoned creator, embark on a customized journey of artistic exploration. Unleash creativity, refine technique, and let your art soar to new heights under Robert’s expert guidance. Classes are available in Chinese or English, offered both online and in-person.

Early Beginnings

Embarking on his artistic journey at age six, “Robby’s” mentorship under skilled instructors at workshops and the Peterson Art Center shaped a versatile skill set in acrylics, watercolor, pen and ink, pastels, and life drawing. Inspired by southern Utah’s landscapes, he connected nature and art early on, earning accolades for his award-winning drawing of “Indian Vase”. Excelling through middle school and high school, Fuerer’s talent garnered recognition even at the college level. His dedication extended to ceramics, with his teacher entrusting him with keys for late-night and weekend sessions. Fuerer transitioned to the role of “Mission Artist” in Taipei Taiwan at age 19. Two years later he was Learning Design and figure drawing at SLCC where he graduated with an Associate of Applied Science with a major in Visual Arts.

PG-13 Warning!!!

Once upon a time, amidst a dark and stormy night, the artist named Robby immersed himself in his studio at Purchase College, fervently painting. Amid this creative endeavor, an ominous phone call from his significant other disrupted Robby’s artistic sanctuary. Fueled by the disturbance, he impulsively added a rabbit’s head to his completed NYC street painting, unwittingly initiating a chilling narrative that resonated with the distorted echoes of lost innocence. The rabbit, an unwitting guide, beckoned him on a journey into the shadowy recesses of his artistic soul.

As the rabbit’s significance unfurled, it unwound memories of a childhood stained by the monstrous metamorphosis of a once-beloved pet, “Black Ninja.” At the tender age of 8, Robby’s life spiraled into darkness, witnessing Black Ninja’s horrifying transformation into a creature of nightmares, leaving behind a trail of chaos in its wake.

A savage bite branded the artist, and his little sister Lizzie’s innocent pet duck met a grisly fate at the rabbit’s malevolent claws, its throat torn asunder. In a macabre scene unfolding before the mesmerized youngsters, the black Ninja rabbit descended into cannibalistic horror, feasting upon its own offspring. Sobbing, the siblings relayed the nightmarish tale to their father. Gripping the rabbit’s once-innocent ears, he put an end to its reign of terror with a single swing of little Robby’s Louisville Slugger bat. The haunting echoes of the skull’s collapse and the lifeless form of the Black Ninja rabbit etched an indelible scar on the artist’s tender soul.

Even as relief washed over them at the end of the creature’s threat, a profound realization lingered—a weighty burden of unwilling murderers forever tethered to that fateful moment. The loss of innocence traced back to the rabbit’s malevolent metamorphosis, casting shadows on the artist’s journey and unveiling life’s heartbreak in hues that permanently stained his artistic canvas.

Now, as an older artist haunted by the ghosts of the past, Robby finds himself plagued by an eerie compulsion in his studio. The once-innocent rabbit’s ears, symbolizing both the innocence lost and the malevolence that lingers, have become an involuntary motif in his work. In a relentless pursuit to capture the essence of that fateful night, he finds solace and torment in adorning everything he paints with the haunting image of rabbit ears – a manifestation of the twisted legacy that continues to reverberate through the corridors of his artistic soul. Each stroke, a desperate attempt to reconcile the innocence stolen and the darkness embraced, perpetuates the macabre tale that was uncovered on that dark and stormy night at Purchase College.

About this short story:

In the aftermath of this chilling narrative, I feel compelled to share a haunting truth from my own notes. This tale isn’t merely a work of fiction but a reflection of my childhood scarred by the eerie events surrounding my black rabbit named “Black Ninja.” I acknowledge the unsettling reality that this horrifying saga is rooted in my own experiences. The rabbit’s sinister acts, the cannibalization, the screams of the babies, and the consequential demise of the rabbit at hands of my father Vince wielding my toy baseball bat—all these gruesome details are drawn from my past.

I candidly share that the significance of the story goes beyond the macabre events. It marks a pivotal moment in my childhood, a time when I grappled with the responsibility of caring for a pet. The trauma and horror unleashed by the rabbit became indelibly imprinted on my young soul. The complex emotions of anger, sadness, and horror festered as I witnessed the disturbing scenes unfold in the rabbit hutch.

Fast-forwarding to my college years at Purchase College, the events resurfaced unexpectedly, leading me to explore the depths of my memories. The once-terrifying rabbit transformed into a symbol in my art, especially after the passing of my grandmother. The act of painting her as a rabbit, with the rabbit ears signifying spirits or an afterlife, became a therapeutic endeavor. In doing so, I exorcised my personal demons onto the canvas, sparing myself the need for psychiatric intervention.

In a final twist, I acknowledge that the problems depicted in my paintings are no longer my burden but are now carried by the viewers. The unresolved complexities and haunting images serve as a testament to the power of art to externalize and share the weight of personal history, turning a tale of childhood horror into an evocative narrative for those who engage with my creations.

If you are still not tired of Rob’s rabbits? My SUNY university thesis really goes down a rabbit hole. You’ll find it in its entirety in my educational background down below.

Born in Zurich, Switzerland, and nurtured in the captivating embrace of the Wasatch Mountains, my artistic journey unfolded effortlessly. At the tender age of 15, I embraced the magic of oils, capturing the majestic Matterhorn on canvas. A pivotal moment occurred while painting Plein Air in Taiwan, surrounded by mountains – a life-changing experience that fueled my dedication to specialize in landscape painting.

Armed with a BFA, my artistic odyssey has taken me to over 15 states and 16 countries, tirelessly mastering diverse scenes across the globe. Now, having returned to the heart of Utah, I am thrilled to immerse myself once again in the awe-inspiring landscapes of my home state, infusing my work with the spirit of this breathtaking terrain.

coming soon (Kending)

coming soon

Current Direction

Fuerer’s “36 Dreams of Mt. Fuji” series, born from personal tribulations, unexpectedly resonated with viewers, underscoring the profound impact art can have on shared emotions. As He navigates a transformative return to my Western roots after his father’s passing, Fuerer is in search for community engagement, tying to bridge cultural gaps and elevate the narratives he aspire to convey, emphasizing the importance of connecting hearts and minds through art.

In the last five years, his art journey unfolded through narrative oil paintings. His series of “36 Dreams of Mt. Fuji,” inspired by a struggling marriage, and “The Beauty of the Father,” depicting his father’s cancer journey, transitioning to the timeless subject of “The Life of Christ.” Each series is a chapter in his evolving narrative, expressing emotional turbulence and resilience on canvas.

Now back in Utah, Fuerer joyously immerses himself in the captivating landscape of the Wasatch Mountains, infusing his creations with the essence of the alps in his homeland. His artistic journey has led to artworks that have a harmonious fusion of Eastern and Western aesthetics, treasured by collections, galleries, and museums worldwide.

Why I started painting religious art (coming soon)


Feel free to reach out and connect with Robert for any inquiries, collaborations, or just to share your thoughts on the art.

Text messages and voicemails are preferred, as Robert doesn’t answer unknown phone numbers.

📱 Rob’s Cell: 385-695-0036


Your messages are appreciated. Thank you for being a part of the artistic journey!