Robert Longo's “Wall of Ice” is a monumental charcoal drawing that captures the imposing presence of a towering ice formation. Rendered with meticulous detail, the piece showcases Longo's signature photorealistic style, emphasising the intricate textures and luminosity of the ice. The artwork evokes a sense of awe and contemplation, highlighting the sublime beauty and fragility of natural phenomena.

Forests have been the subject of several series of work by Robert Longo over the past two decades. Wrapped in an eerie mist or dappled with sunlight, they are the site of a reflection on the relationship between the earthly and celestial spheres, and the ephemerality of life.

In White Snow Trees of the Black Forest, the white of the paper takes centre stage as the artist carefully carves snow-laden branches from subsequent layers of charcoal. The feeling is one of stillness and quiet, inviting the viewer to relish in the delicate equilibrium of the snow balancing on the trees, and in Longo’s deliberate application, where every stroke of black is carefully measured against the negative space of the snow. 

Drawing on the old masters’ use of chiaroscuro, Longo uses light and dark to achieve a dramatic emotional range in his charcoal drawings. The transposition of medium is crucial, as “a photograph is recorded in an instant [but] a drawing takes months to make”, altering both the artist and viewer’s relationship to the image.

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Robert Longo's fascination with celestial bodies is exemplified in his works "Earth" and "Small Earth." These pieces are part of his series "The Outward and Visible Signs," where he meticulously renders astronomical subjects to explore themes of perception and the sublime.

"Small Earth" continues this exploration, presenting the Earth in meticulous detail, emphasising its atmospheric phenomena and surface variations. Longo's technique involves layering charcoal to achieve deep blacks and erasing to reveal highlights, creating a luminous effect that brings the celestial subject to life.

Robert Longo's fascination with celestial bodies is exemplified in his charcoal drawings of the Moon. These works are part of his "Outward and Visible Signs" series, where he meticulously renders astronomical subjects to explore themes of perception and the sublime.

In "Moon," Longo employs charcoal on mounted paper to depict the Moon with striking realism, capturing its craters and surface variations and the interplay of light and shadow. Longo's technique involves layering charcoal to achieve deep blacks and erasing to reveal highlights, creating a luminous effect that brings the celestial subject to life.

Robert Longo's fascination with celestial bodies is exemplified in his works "Earth" and "Small Earth." These pieces are part of his series "The Outward and Visible Signs," where he meticulously renders astronomical subjects to explore themes of perception and the sublime.

"Small Earth" continues this exploration, presenting the Earth in meticulous detail, emphasising its atmospheric phenomena and surface variations. Longo's technique involves layering charcoal to achieve deep blacks and erasing to reveal highlights, creating a luminous effect that brings the celestial subject to life.

Robert Longo's "Rumi" is a large-scale charcoal drawing depicting a massive jellyfish, showcasing his signature photorealistic style. The artwork captures the ethereal beauty and serene presence of the jellyfish, while also alluding to its potential for causing harm, reflecting the duality of nature's creations. The title "Rumi" may reference the 13th-century Persian poet known for exploring themes of beauty and the sublime, suggesting a deeper contemplation of the natural world's elegance and peril.

In a review of Longo's exhibition "A History of the Present," the piece "Rumi" is described as "beautiful and serene, but these creatures can cause great pain and damage if they sting in the right place." This observation highlights the juxtaposition present in the artwork, emphasising the coexistence of beauty and danger in nature.

Longo's meticulous rendering of the jellyfish invites viewers to reflect on the complexities of natural forms, encouraging a deeper appreciation for the delicate balance inherent in the natural world.

Robert Longo's “Head of Christ” is a charcoal drawing that reinterprets Rembrandt's original painting c. 1648–1656 through the lens of an X-ray image. This work is part of Longo's "Hungry Ghosts" series, where he examines iconic artworks by depicting them as X-ray images, revealing their underlying structures and inviting viewers to contemplate the hidden layers of these masterpieces.

The work exemplifies Longo's technical skill and conceptual depth, encouraging viewers to engage with the interplay between visibility and obscurity in art.

Robert Longo's “Parzival” is part of his "Armors" series, where Longo meticulously renders suits of armour to explore themes of power, protection, and historical symbolism.

The title "Parzival" refers to the legendary knight of King Arthur's Round Table, known for his quest for the Holy Grail. By choosing this title, Longo connects the imagery of the armor to themes of chivalry, honor, and the human pursuit of transcendence.

In discussing this body of work, Longo has expressed an interest in reactivating mythologies from various backgrounds to reflect on contemporary cultural and political climates. He aims to "recharge classic archetypes" through his art, suggesting a dialogue between historical symbols and present-day contexts.

The work exemplifies Longo's technical prowess and conceptual depth, inviting viewers to reflect on the enduring relevance of historical narratives and their manifestations in modern society.

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Robert Longo's "Hell's Gate" (2005) is an archival pigment print that portrays a massive, thundering wave, exemplifying his signature photorealistic style and velvety charcoal texture. This piece is part of his "Monsters" series, which captures awe-inspiring natural phenomena devoid of people, location, and colour, combining sublimity and terror to depict complex psychological states.

Longo's wave drawings often carry evocative names of renowned surfing beaches or terms, such as "Hell's Gate," "Dragon’s Head," and "Godzilla," representing moments of tremendous, unleashed force.

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Robert Longo's “Bruce” is a striking charcoal drawing part of his "Perfect Gods" series, where Longo meticulously renders powerful natural phenomena to explore themes of awe and the sublime. In the work he captures the dynamic energy of a great white shark emerging from the depths, its open jaws and sharp teeth evoking both fear and fascination. The title "Bruce" is a nod to the mechanical shark used in the film "Jaws," which was famously nicknamed "Bruce" by the film's crew.