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| Colin Robinson | |
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Born London 1941. After a career based on technology and film, I came to art late in life. Having that experience behind me is a great benefit and now informs my work. I have embraced new technologies to produce giclee prints with a photographic provenance. Current work comprises collage on matters of obsession and nostalgia; the style is influenced by the 60s pop art movement. |
| About the Artist | |
With my mixed background in technology, the arts, stills and moving pictures, I have been described as a polymath. Other artists have dubbed me an artist whereas I have argued that art exists only in the mind of the onlooker; I am just a maker. Categories such as fine art, illustration, graphic art, or craft are for me simply points on a spectrum. In the plane of two-dimensional imagery, I guess what I do is somewhere between photography, graphics and the digital arts. Pixel technology suits my thinking and my range of skills and digital manipulation allows me to augment the image beyond the 'truth'. Influences include Bourdin, Carlos Clarke, Newton, Lichtenstein, Warhol, Hockney, Hamilton, Jones, Blake, Boty et al. |
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| Click to enlarge images (if larger image has been loaded) |
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Hi honey
2004 |
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| Using three monochrome photographic negatives shot years ago, two original drawings, digital over-painting and much more, this fantasy montage might have origins in post-feminist culture. It has echoes of the wife's role in the 1950s; the theme title was prompted by the 50s' American sitcom parodied in Gary Ross's 1998 movie Pleasantville as was the mix of black'n'white and colour. However the make-up is from the 60s and the boots part of the staple diet of all serious boot'n'shoe fanatics. Reference is also made to the comic strip format. |
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caught on camera
2004 |
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| Four 35mm monochrome negatives shot (circa 1973) spontaneously and rapidly. Photographs and comic strips are both models of the real world. Photos are selections of space and time – a chosen lens angle and viewpoint, the moment of pressing the shutter; they omit sound and smell and often colour. Mathematical and technological models are also selective in what they include, depending on their purpose. Comic strips do likewise, according to the artist’s whim. |
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Oh look, here comes Mummy!
2005 |
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| When asked by a judge in 1878 what his picture represented, Whistler said "that depends upon who looks at it".
I enjoy the surreal, the enigmatic and the bizarre. I don't remember how the idea for this came about when I first sketched it in the early 1970s and shot the photographs of the girl and the shoes. The room and the hair came much later and the montage was completed in 2005. The model is reminiscent of Allen Jones' furniture. Reality rules on the left but weakens on the right; the treatment over there – whence comes Mummy – owes more to the comic strip. |
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and now this
2006 |
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| At what stage does cosmetic make-up become a mask? It's a matter of degree, of taste, of intent, of opinion. A skillfully painted face puts the art in artifice. |
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colour me pink ii
2006 |
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| Overtly inspired by Sir Peter Blake's two pop art multiples, Babe Rainbow 1968 and Bobbie Rainbow 2001, this is a humble tribute to the great man. His were screen print on tin, mine is silver glitter on giclee. My original photo dates from 1969. Relatively simple, even trivial in content - artifice, painted women - this is deliberately kitsch. As elsewhere in my work, I have left traces of the techniques by which I constructed the image. |
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Qui etes vous Molly Maggoo?
2006 |
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| One of a series of images with the theme 'girls on film' (prompted by the 1980 Duran Duran hit, although their content has virtually nothing to do with those lyrics) which span a variety of silver gelatin and digital formats. Here I am elevating the physical form of the photographic image itself to artefact; think Marshall McLuhan The Medium is the Massage 1967; think Joe Tilson and Diapositive or Transparency, Clip-o-Matic Lips, the Five Senses: Taste et al 1967-9.
This one refers to William Klein’s 1966 film Qui etes vous Polly Maggoo. |
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girl on film
2006 |
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| I have been part of the revolution from film to digital images. Eight millimeter film is about as coarse a format as youll find; it does reduce the image to basics, in this case blobs of colour from a girls exaggerated make-up. Hurrah! The accentuated and granular mask has more substance than the girl behind it whose own character is hidden. In that respect, the model is not real. |
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reds on the bed
2003 |
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| This was one of my first artificially constructed images. Is there a narrative behind this 'still-life with red shoes' Tell me about it. |
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| Education and biography | |
| B.Sc. (Eng.) in mechanical engineering from University College London (UCL) Thirty-odd years as a BBC film editor and director, television producer and manager. Exhibitions: 'people and faces' UCL 1964 'people and places' Banbury Museum 2000 'Transformations' Chipping Norton 2000 'CAN do' at The Mill Arts Centre 2000 ARTitUK Pangbourne College, Berks 2001 Friends of Pitt Rivers Museum 2001 'Quintessential' The Theatre Chipping Norton 2002 'Hotwired' Mill Arts Centre, Banbury 2002 The Lennox Gallery, London SW6 2002 Gallery 47 Great Russell St London 2003 Atrium Gallery Bournemouth Uni 2003 Blender Gallery Bodicote 2004 St Edward's Oxford 2005 Michael Heseltine Gallery, Chenderit 2005 Radley College Oxford 2006 Prints available at CCK Gallery, Endell St, London |
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| Future shows | |
| Said Business School Oxford July 2008 |
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| Website: www.colinrobinson.com | |
| IF YOU ARE INTERESTED IN CONTACTING THIS ARTIST, CLICK HERE | |
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