BIO


STATEMENT.

Robin Sullivan (b. 1992, London) creates works spanning artforms, from public programmes covering entire landscapes; to large scale ceramic firings; intimate sculptures, to expansive bodies of research.

Robin’s unrestricted approach to art comes from their ability to trust in their process, discovering the best way to make physical a thought, feeling or story.

Their varied works bear strong historical references, inspired by their decade long research into (pre)historic England. By merging seemingly incomparable worlds into a new universe, they investigate the dynamics of landscape. Rather than presenting a factual reality, a new reality is fabricated to conjure the realms of imagination. This new reality is used to challenge the binaries of Self and Other, of past, present and future, of something being simultaneously this and that.

Working with entire communities, artists, archaeologists, botanists, geologists and engineers, their work is executed in dialogue with others. To truly explore what was created when we came together to forge the first communal art in the landscape, one can not work in isolation. Robin sees this not as a tokenistic gesture but an intrinsic part of the process.

Robin Sullivan has delivered events, commissions and projects for and with English Heritage, Arts Council England, Royal College of Art, Future Foundry, Creative Civic Change, White Gold international Ceramic Festival, Cornwall Heritage Trust, RAMM, Aspex Gallery, Russell Coates Museum and Lokaal 01.

 

I am a Queer Neurodiverse artist; cultural producer; a writer; a chef; a dreamer; an experimental archaeologist; a mudslinger; a guide; a Queer man; a Performer, the hostess with the mostess. The work I produce lives happily in the slashes between, a truly non-binary practice. Between complete and not, between community and landscape, between research and action, between in here and out there. 

Working with land, people, history and thought, I devise projects to answer internal questions that sit within the real world. I make work that is deeply personal but universal. the relationship between us and our world, between divisions of time, I explore places, and everything within them, past present and possible futures. I work with people as much as materials, and strive to make work that sits within a community hall or high street as much as a gallery or lecture hall. 

These works involve hundreds of people, across multiple locations, through numerous times in history. Regularly collaborative, I work with Archaeologists, Geologists, Botanists, Engineers, owners of heritage, organisations, charities, and most importantly, communities. Some communities are specifically approached, and others form organically throughout a project. 

 

The majority of the projects ('works') I am currently producing are relatively long, most will not be complete for another 3-4 years at least. This durational working is something I am having to get use to, having to understand to do the things I want to, to the level in which I need takes time. sometimes more time than I am willing, and sometimes more time than I should.