Andrew Cornell Robinson

Bio | Statement | Resume | Bibliography

Bio

Andrew Cornell Robinson is an interdisciplinary artist and designer working with sculpture, painting and works on paper. He spends some of his time curating, teaching and writing about art and culture. His work has been presented in New York City at Anna Kustera; Christopher Stout Gallery; Paul Sharpe Projects, Eyelevel BQE; in Chicago at the American Center for Design; in Connecticut at the Bruce Museum for the Ceramics Circle; in London with the United Kingdom Crafts Council, et al. He has received an Edward Albee Foundation fellowship; grants for an art, design and performance collaborative workshop with The New School for Drama; and a research grant from Parsons for his work exploring the nature of craft thinking across disciplines. He has worked as an artist and educator in Port au Prince, Haiti and in southern India.

He has a deep appreciation of art and design having studied ceramic sculpture at the Glasgow School of Art and the Maryland Institute College of Art from which he received a BFA. He was awarded an MFA from the School of Visual Arts.

Andrew has worked with some of the most prominent design agencies in the industry. He has worked with an array of clients representing the luxury, fashion, and entertainment industries. He is a member of the faculty at Parsons School of Design. His New York accent comes out when he is in a hurry, and he is fluent in hand gestures and hearty laughter.

About the Work

Andrew Cornell Robinson is an artist and interdisciplinary maker whose work is on the cusp of design, sculpture and craft. He creates ceramic, sculpture and mixed media objects and images with a rich attention to materiality and narrative. His assemblages examine memory in order to tell the stories of the other. His work is often focused on the queer and peculiar within the context of forms that include reliquaries and memento mori artifacts. In carefully researching and creating rich narratives and personae represented by a network of images and objects, Robinson aims to engage the ways we understand historical memory and our place in it.

"Hidden narratives have always been important to me in creating visual art. Narrative structures and devices inform my visual thinking and have led to an underlying system designed to create visual as well as conceptual connections between the artifacts that I create.
Recently I have become interested in coded languages such as Polari, an innuendo fueled English slang language used primarily (although not exclusively) by gay men in the United Kingdom between the 1920's and the 1970's although it's history and etymology can be traced further into the past. It fell out of use after the partial decriminalization of homosexuality in England and Wales in 1967. This 'lost language of gay men' served simultaneously as disguise and identification, when mere existence in the United Kingdom and beyond was punishable with imprisonment and public disgrace. Polari was a form of resistance, a way of queering language, and the expression of a shared culture and identity. Transforming craft materials, artifacts and narratives by speaking through codes and abstraction underlines some of themes within my work."

Resumes