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Visual Thinking

I have often sought a through line in my work, a sense that what I am making has some common denominator. For a time I relied on the use of a material or method, but that got complicated quickly by my love of ceramics, and printmaking, and drawing, and painting, etc. I prefer not to be hemmed in by the desire for fitting myself into a category, a discipline, in spite of having worked with ceramics much of my life. So I began to look for a visual or formal language that held together across all these media. Drawing and a graphic line seems to run most coherently through my work, and yet even that falters as I find my line or my approach to materials, or my embrace of theatricality can lean hard into an expressiveness that doesn't fit neatly into a formalism that seems so popular of late. In all this incessant seeking to conform to a core identity through form making, I was reminded of the desire for freedom that art making has always been about; breaking out of the conformity of a culture that I have often felt constrained by, making a mark. And in that simple seeking of a place for free expression of form and materials and ideas, I find joy and laughter, and surprise. The core of what I make are not simply images and objects, it’s like an energy, like the artifacts of an event, a memory, a moment.

This sequence of images below began with 1,000 drawings culled from 30 years of sketch books, transformed into 41 prints, with gestural drawings of Jamón Ibérico (Spanish smoked ham legs), superimposed in four colors, abstracted and broken down into half-tone dot patterns. These prints were then cut up into 1,000 small swatches, and were papered over sculptural plinths on which various ceramic abstractions of ham and pork products were placed. Then these prints were silk-screened onto thin paper and pasted over ceramic busts, and lately these have been printed directly onto porcelain forms. An idea unfolds visually and intuitively, and I try to keep up with it, chasing it where it wants to go.
E, “Sous Les Pavés, La Plage!” (Congregation of Wits)Double-sided silkscreen print on cotton rag paper 2018 17x17 inches Edition of 40, Recto and Verso, details from one of a series of print editions included in the series Congregation of Wits, a multi-media drawing, print, animation and sculptural project exploring drawing and language.
Pentimento 21 (Patroclus Sleeping) Tin glazed stoneware modeled after a glaze recipe first used in Persia 800 CE, silkscreen print on archival paper mounted to a sheet of tin and wrapped around the ceramic bust. 2021. 26 x 16 x 16 inches I was inspired by the publication Song of Achiellies by Madeline Miller, which led me to read the Illiad, and consider the intimate relationship between Patroclus and Achilles. The historical erasure of intimacy between them is an example of how history is written by those in power. In the LGBTQ community there are too few artists who survive to be elders. The real queer coming of age is recovering ones histories; first as a viewer finding ourselves, then as a participant in the production of culture. We enfold queer traces into our creations, into our memories so we can pass them on. I made this bust of Patroclus sleeping, with a print on paper mounted to a sheet of tin draped over the face. It is an allusion to the grieving of Achiellies over his dead lover.
Congregation of Wits, Box Set (Red 1,000)Detail of A Congregation of Wits, 1,000 prints.
Sorting printsGabriel helping me sort through thousands of prints in the studio.
One thousand printsDetail of A Congregation of Wits, 1,000 prints.
AcetatesExcerpts from the print and animation project.

Drawing Phrygian Caps

At the onset of the corona plague in NYC, I found myself having a recurring dream that prominently featured Phrygian caps, the red liberty caps worn by radicals during the French revolution. A symbol which has its roots in ancient times when it was worn to signify a formerly enslaved person's freedom.

In any case the image and dream seemed significant so I began to draw a series of Phrygian caps with gouache, pastel and ink on hand made paper.

Exhibition: It Could Be You

Lodrys2019, Graphite Work on Paper, 27 5/8 x 21 7/16 inches (70 x 55 centimeters); Framed 28 11/16 x 22 11/16 inches (73 x 63 centimeters).

It Could Be You Andrew Cornell Robinson's work is included in the portraiture exhibition in at Equity Gallery. Lodrys, 2019, Graphite Work on Paper, 27 5/8 x 21 7/16 inches (70 x 55 centimeters); Framed 28 11/16 x 22 11/16 inches (73 x 63 centimeters).  

Equity Gallery is pleased to present It Could Be You: Portraiture in a Constructed World, a comprehensive group exhibition of contemporary portraiture curated by Hyeseung Marriage-Song, Beverly McNeil, and Patricia Watwood. 

The show features a diverse group of international multidisciplinary artists whose artwork explores both the purpose and limits of portraiture, identity, and the self in the modern digital age. Somewhere between the introduction of cheap camcorders and the proliferation of smart phones we became distrustful of our body’s ability to mediate directly with the physical world.  To a large extent we have exchanged the sensual perceptions emanating from our surroundings for simulated experiences that mitigate reality through camera lenses and digitalized imagery. Once understood to be aide-mémoirs of life’s lived experiences, the media is reality—a reality comprising instantly sharable content validated or refuted by social media emojis.   That’s a risky way to construct one’s universe.  How can we hope to fix an identity, let alone one informed by ethical principles on a mutating digital stage that is subject to the whims of marketing algorithms and bots on a mission?  Given present conditions, it’s no wonder that our instinct to ascertain “what’s real” has devolved into an addicting stalk for pleasure hits that never quite satiate an appetite weaned on spectacle. That said, can we stake out what is abiding, true and stable about us and our fellows?  In an increasingly alarming and chaotic era, art that depicts what is actually there and recognizable is defiant---and nothing could be more necessary and reassuring at the moment than simply showing what we actually look like (and mean) to each other. 

Artists include: Jamie Adams, Fielding Archer, Kelly Birkenruth, Tyler Bohm, Trudy Borenstein-Sugiura, Ryan , rown, Maya Ciarrocchi, Patricia Fabricant, Brooks Frederick, Judith Gresh, Cornelia Hernes, Amy Hill, Natalie Italiano, Young Min Koh, Pia Ledy, Liz Lindstrom, Daniel Maidman, Hyeseung Marriage-Song, Miguel Malagon, Allison Maletz, Juliet Martin, Traci Wright Martin, Gregory Mortensen, Mary Morvant, Gilbert Oh, Linnea Paskow, Leah Poller, Andrew C. Robinson, Mario Robinson, Toni Silber-Delerive, Burton Silverman, Matt Talbert, Jesse Thompson, Alexandra Tyng, Yuqi Wang, Patricia Watwood, Lindsey Wolkowicz. 

Curated by Hyeseung Marriage-Song, Beverly McNeil, and Patricia Watwood. 

November 14th— December 7th 2019 
Opening Reception: Thursday, November 14th, 2019, 6 PM-8 PM

Equity Gallery, 245 Broome Street, New York, NY 10002 
Open Wednesday - Friday, 11 AM -6 PM and Saturday - Sunday, 12 PM -6 PM
www.nyartistsequity.org