Bio: Recent work:

Anne’s multidisciplinary practice is experimental, and often collaborative: mainly working in expanded film: for example, projecting on more than one screen, with live performance, or extending into gallery or workshop spaces through objects or drawing. The work is concerned with the perception and politics of time passing, ’queering’ technologies, and working speculatively with archival fragments to ‘listen to the past’, imaginatively expanding ‘real’ historical moments and hidden lives.

For current work ‘The Charmers, she has formed a band and made a record. Her interest in and research about the ‘witch’ trials in Ayrshire came about through investigating traces of her matrilineal ancestors’ experiences of humiliating punishments and labour recorded as misdemeanours and debts in Kirk Sessions and Poor Rolls. This became ‘The Hurrier’ (2021), for which Anne made a ‘sci-fi folk-ballad’, film and ‘broadside’ print. She organised a conversation/podcast in collaboration with The Feminist Library, on Art, Class and Bodies and co-curating an exhibition with works from collaborators on the ‘Hurrier’ project.

Screenings and installations include: APT, Five Years, LV21, CCA Glasgow, Whitechapel Gallery, Southwark Park Galleries and the Estonian Maritime Museum with recorded/live scores, collaborating with percussionist Limpe Fuchs, Breathing Space and Richard Wilson. Formally, these works test the boundaries of documentary and experimental form: ‘queering’ technologies, and working with the construction of alternative ballads as a way of making new stories.

Recently, Anne has contributed work for the ‘Queer  Materialities’ research group at GSoA for publication and exhibition. As a former member of See Red Women’s Workshop and co-author of ‘See Red’ (Four Corners, 2016), her work features in ‘Women in Revolt!’

Bio: background:

Earlier experimental work with duration, frame, exposure, paint surface, sound and movement as well as artists’ collaborations include work with: Inspiral London, Comm(o)nist Gallery, Feminist Disco and GHost on ‘song films’ and performative interventions and curatorial project Over Time  in 2014 on the Thames foreshore, at RMG and in the Stephen Lawrence Gallery. She has shown work nationally and internationally, published in: The Journal of Visual Arts Practice and The Journal of Media Practice and curated art projects including: Time, Flesh and Nerve, One More Time and Supernormal experimental arts festival. In 2013, she showed Que Sera at Stamford University in 2013, made the film work  Inside Out Blues as part of a residency with Counterproductions during the Capital of Culture year in Marseilles. Recent shows include:Pool at CGP, Seafar at Folkestone and Deprford X, Lumen at Shuffle and Vital Excess at Bank Gallery, London. She completed a PhD on temporality, film  and painting in 2012 and works with the moving image as an artist and educator, currently teaching at Middlesex University.

Robinson originally attended Glasgow School of Art as a painter in the late 1970s. Excited by developments in feminist and community arts, she moved to London to work with the See Red Women’s Workshop collective and has remained committed to the politics of collective working and community education. Learning to make films through the London Filmmakers’ Co-op, she was also part of the Wildtrax film group working with bands and performers and making experimental shorts such as 17 Rooms before returning to art school to study in the experimental film unit at St Martins in the 1980s where she continued to show works in festival screenings and on UK TV,  later attending University of Westminster to study film theory. She has taught in further, adult an higher education, working on courses about artists’ film. Working with painting and film, she has been making and showing work continuously since the mid 1990s: developing a painting practice which is engaged with philosophical and perceptual considerations of temporality, in particular, working with analogue and digital film frames as markers of time. Photomedia works also explored imaginative time travel and  experiments with sound  led to a series of ‘song-film’ works such as Que Sera (2010) and Is It You? (2012), combining film and performance and to performance interventions using song fragments. 

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