Miriam Robinson
I am an interdisciplinary artist. I’m passionate about public art, collaboration, and community building.
My work has been significantly influenced by my fascination with surrealism, my appreciation for street art, and my work in large-scale, abstract sculpture.
I have long-since been fascinated with the layered elements of surreal art; how one can look at the same piece again and again and each time notice a new detail that changes the meaning in some way. I aim to find this depth in the layers of my work; to create something that leaves the viewer with a slightly deeper and different understanding of a piece, the more time they spend with it.
I have a great appreciation for the rough surface texture of street art. Even the most delicate and detailed paintings take on a new edge when painted on cement or brick. For this reason, I often choose to paint on wood panel, and I highly value the textural element that the wood adds to the layers of painted texture.
My recent work in abstract sculpture fabrication has introduced me to new methods of expressing abstract concepts through design. It has also led me to incorporate power tools in my painting practice, which has had quite unique textural effects.
For me, making art is about reaching out, finding the potential within the seemingly random, and building that up to create something unexplainably meaningful. It’s about hope and about the struggle to find understanding in uncertainty. It’s about our versatility and the layers in each of us and in all of our experiences — even our experiences of the same thing at different moments in time.
My newest work broaches the concept of organized chaos. It is a study in both naturally occurring and manipulated constructions; an ongoing experiment balancing intuitive abstractions with geometric design.
In the future, I hope to travel, showing paintings and working on large-scale works of public art for the community.
My biggest passion and inspiration in this work is working on public art projects — specifically pieces like Formations Studios’ Stealth and like Choi + Shine’s crochet giants; really large-scale works that are almost impossible to produce, therefore when completed despite all odds against it, stand as epic representations of hope and possibility (two things I think the world desperately needs more messages of these days) and public pieces that meet people where they are – on the street or in their cars, as opposed to only being available to people that pay an entree fee to enter a specific building during a specific timeframe.
Categories: Visual Arts
