Annette Robinson

Senior Lecturer, BA & MA Drawing

Camberwell, Chelsea, Wimbledon

Biography

Annette is currently Senior Lecturer on the BA Drawing course at Camberwell College of Arts, University of the Arts London. Prior to this she was Senior Lecturer teaching sculpture at University of Northampton and she has taught at many other institutions including Royal College of Art, Royal Academy, Winchester school of Art and at the Statens Kunst Akademi, Oslo, Norway.

She has been a British Council sculpture fellow, based in Norway and has had other international residences in America, France and Norway. She has exhibited widely both nationally and internationally including Norway, Sweden, Slovenia, France and the USA. She is currently working in collaboration with a Theatre Director in Ireland.

Her work has been published in Drawing Now: Between the Lines of Contemporary Art, a publication produced by Tracey (I B Tauris & Co. publishers). She was educated at Gloucestershire College of Arts & Technology and the Royal College of Art.

Research interests

Drawing, moving image, sculpture, sound, participation, and performativity. Scholarly research interest includes the sustainability of a creative education both within and beyond the arts. 

Research statement

Robinson's investigations as an artist are fed by an interest in absurd connections and the transitory nature of 'stuff', its meaning, function, and place in the world. She has a cross media practice with a particular focus on the intersections of drawing, sculpture, moving image and sound. The work is often site responsive and recently she has been examining the ways in which a response to site may be seen as performative, by reframing drawings, animations, etc. as theatrical encounters that animate the spaces that they operate within. 

Animation is used as an improvisational and improptu medium. Misplaced fragments, seemingly nonsensical remnants of the discarded and overlooked are given agency through subtle movement. They become characters whose tenuous choreographies are underscored through projection onto transient structures, constructed on site often using found materials. Accompanying sounds are equally fragmented and widely sourced, including actors dancing, sounds of machines, recordings of nature and at times my own faltering singing or playing of a range of instruments.

The performative nature of Robinson's work has often embraced participation and most recently she has begun to extend the restrictive yet repetitive movements explored in the animations through actual, performed movement, such as through a participatory Roundabout or Pogoing in a vast empty building. As such, the space between the live, the recorded and the constructed is pertinent to her current practice.