A Queer Pentimento

An ongoing series of sculptural assemblages exploring the altar and reliquary forms combining image and artifact.

ERASURE is a shorthand for the ways in which queer perspectives are silenced; yet like a Pentimento, an otherness emerges through layers of identity. Some of us can’t help but reveal our nature. In my work, obfuscation, abstraction, and the use of ceramics, assemblage, and printmaking are visual strategies and metaphors for my lived experiences.

Ceramic, Drawing, Print, Sculpture

#art  #ceramic  #print  #sculpture

Read more in Aesthetic Polytheism, Visual Thinking, About


Photograph enamel on metal, ceramic, gold, wood, lacquer, variable 70 x 38 x 12 inches


#acrstudio  #andrew cornell robinson  #art  #arts and crafts research studio  #ceramic  #gold  #photograph  #sculpture


2019 Photograph enamel on metal, ceramic, gold, wood, lacquer 70 x 38 x 12 inches

Many of my projects include a parallel process that I use to generate ideas, images and narratives that help me make sense of how I make work. In this case I use character studies or personae which I name and imagine their motivations and desires. I use a persona like Felix (Latin for Lucky) as a means of generating images and language that then intuitively evolve in my drawings, prints, and other works. The persona, in effect becomes a faceted mirror of the world, that I make artifacts and images about and for.

Ceramic, Photograph, Sculpture


Felix (Detail)

Photograph enamel on metal, ceramic, gold, wood, lacquer, variable 70 x 38 x 12 inches

#acrstudio  #andrew cornell robinson  #art  #arts and crafts research studio  #congregationofwits  #print  #silkscreen  #work on paper

Pentimento 15 (Bruno Lenoir)

Tin glazed porcelain, stainless steel, painted wood, silkscreen print on archival paper, 2021, 22.5 x 13 x 9 inches.

This work is paired with Pentimento 16 (Jean Diot). I work intuitively to create forms that cobbletogether stories that are often overlooked or purposefully forgotten. In the case of both Pentimento 15 and 16, there are two different silkscreen prints of sensual male bodies. An artist’s model, whose face is obscured by a rigid structure that is both a phallus, and an obstacle.

I was thinking about the tradition of wedding portraits made to commemorate couples across cultures and through out history. This pair of portrait altars, serves to commemorate a pair of lovers. That sort of celebration seemed more compelling to me, than a lonely plaque marking the site of their murder by their neighbors in 18th century Paris.

Ceramic, Print, Sculpture

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.

Ceramic, Print, Sculpture


Pentimento 11 (Wrestling with Pasquino)

Stoneware and earthenware slip harvested from a river bed in Haiti, silkscreen print on archival paper mounted to a sheet of tin and wrapped around the ceramic bust. 2021

Since the 16th century, people have been posting provocative political messages on a group of five Roman sculptures known as the Talking Statues. While doing research in Rome, I stumbled upon the first of these known as Pasquino. This third-century BCE Hellenistic statue was excavated and placed near Piazza Navona. In cover of night, people would paste messages satirizing the oppressive papal government. This tradition of public satire papering over these five statues continues to this day. Known as the Congregation of Wits, the statues act as places for public dialogue. It reminds me of how monuments today, are being contested, papered over, and in some cases removed, as an expression of the people. I made this bust using clay I harvested from a river bed in Haiti and then created a silkscreen print of wrestling bodies, printed onto archival paper, mounted on tin and wrapped around the face.

Ceramic, Print, Sculpture