‘Indeterminate Object,’ a sculpture from his ‘Temporary Fence’ series is installed at Bishops Square, Spitalfields, London. The artist is currently in receipt of an Arts Council England Research and Development Grant. Mentored by Sara Matson, Tate St Ives, Robinson has just received ACE Research and Development funding to undertake a six month residency on a Plymouth Industrial Estate where he will be based at a car ‘bodyshop’ making sculpture using researched processes of industrial refinishing. He is interested in the way Temporary Fencing creates private spaces in public arenas. Its flimsy orange perimeter controls our movements, creating an eventful space where the body is both absent and present. Surface, spectatorship, customizing, fantasy, cosmetics, movement and the absent and present body are very current in his thinking.
For SomoS, Graham Guy-Robinson developed and presented ‘Wet Look’, a new ‘Temporary Fence’ sculpture created specifically for the Custom Paradise exhibition. ‘Wet Look’ is a ‘performed sculpture’, a ‘private space’ being made under the public gaze. It uses processes of simulation and repetition to create a virtual private space in public.
Through the actions of looking, labor, repetition, reenactment, misquotation and referencing binary code and customizing, ‘Wet Look’ explores the materiality, spaces and surface of desire. Interested in the ways industrial surface communicates with and effects our moods, movements and desires, his work shows the way we construct and manifest fantasy through color, surface, captured movement, and the customized body.
To learn more about Graham Guy-Robinson, his creative process, and his participation in the Custom Paradise exhibition at SomoS, have a look at the short interview below filmed and edited by Zack Soltes at SomoS in November 2016.
Graham Guy-Robinson homepage
Royal British Society of Sculptors