Robert Heindel, apart from being one of the most courteous and charming of men, manages to camouflage himself into the studio setting, somehow hiding his 'spying' eye. Many silent photos later, and after the magic process has taken place in his studio, one is presented with not only a true image of oneself but with a beautiful study and record of the private moments that one thought had been hidden.

Amongst Heindel's audience at The Royal Festival Hall was Andrew Lloyd Webber whose enthusiasm for the collection prompted the request for Heindel to paint 'Cats' and also the rehearsal period of 'Phantom of the Opera'. Paintings and drawings from 'Cats' and 'Phantom of the Opera' formed a 1987 exhibition in The New London Theatre, the London home of 'Cats'. At the end of '87 classical ballet returned as the focus, the result of which was an exhibition at the Monte Carlo's Hotel de Paris with Princess Caroline of Monaco as the Guest of Honour.
Autumn 1988 heralded the artist's second major exhibition at the Royal Festival Hall in London. This time he focused on a suite of paintings and drawings from 'The Garden of Eros' performed by London City Ballet. The patron of the ballet, Diana, Princess of Wales, was Heindel's distinguished guest.
"Experts hold your work in the highest regard, I know, but for me it simply succeeds in capturing the spirit of dance as art" - Diana, Princess of Wales

Since 1990 the concept of working upon one particular production or company, followed by an exhibition, has changed somewhat. There have been one or two exceptions, such as 'Still Life' at the Penguin Cafe, but on the whole works produced upon the dance/ballet theme have been less specific.
In 1992 a collection of his work was shown in Tokyo. What Heindel saw upon that first visit left him anxious for more and an invitation to observe preparations, rehearsal and performance of the Noh Theatre was signal to another new episode which resulted in another exhibition in 1995. Guest of Honour, HIH Prince Takamado described the artist as a 'Rare Painter'. The intrigue with traditional Japanese Theatre continued in 1996, with another exhibition in 1997.

Another challenge he set himself provided a curious series of beasterly headed humanised creaturs, in fact his response to the ballet 'Still Life' at The Penguin. The exhibition represented another significant departure from the familiarity of previous dance imagery.
Creator of the ballet, David Bintley - Artistic Director of the Birmingham Royal Ballet - requested many of the paintings be used to promote a subsequent seasom of his Company that encompassed 'Still Life'. This effectual compliment concluded a fascinated chapter with 'The ecological extravaganza'.

While 'Still Life' represented pure observation of an existing ballet, 'The Dance House' provided the most intensive artistic outpouring since paintings done after the death of Heindel's son Toby. The ballet was created for the San Francisco ballet and the commissioned choreographer, David Bintley, approached Heindel to design a set and costumes for a somewhat 'abstract' one act piece. Bintley was aware of Heindel's interest in 'Still Life' but his knowledge of Heindel's work was based upon a much wider aware of previous paintings and drawings.

In effect Heindel's contribution - with costume designs embracing life and death - beckoning, lonely, misjudged, sensual, sexual, vital - succeeded, vividly to realise Bintley's wish to portray 'The Dance House' as a celebration of life and death. Heindel's original set and costume designs, alongside sketches and paintings of the ballet irself, were exhibited in the harmonious surroundings of Frank Lloyd Wright's famous building in Union Square.

In apparent stark contrast to all that has gone before are robert Heindel's cospicuous 'Painted Walls' an ongoing project of no foreseeable conclusion. Larger pieces of which Heindel says "the most important things I've ever made for myself".

Inspired initially by the sight and recollection of African primitive art and contemporary decorative device there today, he started with a personal response to that. From his exploration he found pure pleasure in the involvement with paint and rhythm. Symbols, shape and emotive form evolved from the ongoing experiment - confidence flourished and 'Painted Walls' became focal to a 1996 exhibition, once again in London's Cork Street. The reception, response and results were unprecedented - the brave departure applauded.