Bio

Recent Work:

Anne Robinson’s multi-disciplinary practice is concerned with the perception and politics of time passing, working experimentally with duration, frame, exposure, paint surface, sound and movement. She works with painting, moving image and performance, recently working with the Comm(o)nist Gallery, Feminist Disco and GHost on ‘song films’ and performative interventions. In 2014, curatorial project Over Time  engaged 11 contemporary artists in responding to fluid temporalities and political change 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 the unique 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 and she will be showing film and paintings in Ghost On the Wire  at Bermondsey Project Space in June, 2014. She completed a PhD on temporality, film  and painting in 2012 and works with the moving image as an artist and educator, currently senior lecturer in Film at London Metropolitan University.

Bio:

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, most recently 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 explore imaginative time travel and more recently, experiments with sound have led to a series of ‘song-film’ works such as Que Sera (2010) and Is It You? (2012), often combining film and performance and to performance interventions using song fragments. Her PhD thesis in 2012 was entitled: The Elusive Digital Frame and the Elasticity of Time in Painting.

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