Amy Robinson: Water and Sand


14-Hover 2
13-Hover
Hover (profile) Hover
11-Solitude 2 04-Slipping
Solitude Slipping
09-Enough Detail 07-Enough
Enough (detail) Enough
19-Crying 17-Awake
Crying Awake

There is little information to be found about this collection of ceramic sculptures by Amy Robinson, titled “Water and Sand.” Robinson’s statement may explain that, in part:

“Art is communication. I’ve never been much of a talker, and I’ve spent a lot of my life disconnected from people, from experiences, even (or especially) from myself. As a child and teenager, drawing and making things was my way of coping with life. Creating was a reprieve, a quiet place in my mind that was far away from reality. As an adult, making art has developed into a way of reconnecting with the world around me by helping me to more fully connect with my experiences and emotions. It has become a way for me to express my thoughts and feelings to others as well as to myself.”

I do think that, for the most part, these pieces speak enough for themselves, although curiosity about why Robinson made them and what her thoughts were does eat at me when I look at this body of work. Why the swan? Is the combination with the human face intending to say something about the humanity of animals, or the animality of humans? Is it neither? What is the intent behind the variations in expression from serenity to annoyance and confrontation? And the baby-faced cygnets? But from a news clipping about the exhibition that displayed some of the Water and Sand sculptures, describing the exhibition (a transformation of a private storage shed into a gallery) as a “shrine” and “sanctuary,” I think it is clear that the artist is rather private, and answers to those questions may not be available.

The rest of the pieces from Water and Sand can be found on the artist’s website.

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