A line, drawn on hot-press paper, rubbed until it fades and fuses with the surface, becomes a shadow of its former self. Lines repeated, gradually darkening, produce marks of tension and great spatial depth. The bleeding of charcoal and graphite trapped and paled by layers added and removed continues to exploit these abstract interpretations of movement, sound, mutability and evanescent light. My work is an enquiry into process, through memory and repetition. It is an investigation into the instability of line, of surface, of life, informed by observation of the world around me.
L’Après midi d’un Faune. 2016. Graphite, charcoal and mixed media 60 x 80 cms
Fiona Robinson’s work is increasingly informed by music. Using the language of drawing she creates an equivalent of, a transcription of, music. It is not a system of notation, not an alternative to a musical score to be reinterpreted, it is a response to the sound.
Robinson’s drawings present a communication between composer and artist, a conversation between two practitioners, through the languages they use to express their ideas. This is where the music and the drawing connect.
Women with Vision: Frink-Blow-Larson, Women of the RWA, Cornelia Parker: One day this glass will break.
Royal West of England Academy, Bristol, UK.
16 December 2017 – 18 March 2018
Soundscape II Graphite charcoal and mixed media. 56 x 56 cm.
Selected from the RWA Permanent Collection for Women with Vision
Where music and drawing connect
Royal West of England Academy Bristol 1 March – 16 April 2017
Exhibition of work by Fiona Robinson RWA exploring the relationship between drawing and music. http://www.rwa.org.uk/whats-on/drawing-debussy-fiona-robinson
Snatched Moments Film 3 min. 57 sec.
Stills selected from 58 drawings, graphite, chalk, wax and found material on paper and Japanese tissue, sizes variable, 2014-15. Set to Reverie by Debussy