Please join us for an Artist Talk
this Saturday, May 20, 6:30 pm
Rob Swainston
Rob Swainston mixes printmaking, installation, sculpture, drawing and video in an exploration of social and historical processes. Because Swainston works large and in multiples he can cut up, overprint, combine, repeat and reassemble work in multiple ways. He is constantly rebuilding and reassembling work while adding new components and destroying old. For him, this process is analogous to how our social world is constructed.
Swainston is Assistant Professor in Printmaking at SUNY Purchase College and Master Printer for the collaborative printshop, Prints of Darkness. He received a BA from Hampshire College, an MFA from Columbia University, and attended Skowhegan, Marie Walsh Sharpe, and the Fine Arts Work Center. His work sits at the intersection of printmaking, painting, installation and sculpture. Exhibitions include Marginal Utility, David Krut Projects, Bravin Lee Programs, Socrates, Smack Mellon, Queens Museum, and Bronx Museum.
Swainston is Assistant Professor in Printmaking at SUNY Purchase College and Master Printer for the collaborative printshop, Prints of Darkness. He received a BA from Hampshire College, an MFA from Columbia University, and attended Skowhegan, Marie Walsh Sharpe, and the Fine Arts Work Center. His work sits at the intersection of printmaking, painting, installation and sculpture. Exhibitions include Marginal Utility, David Krut Projects, Bravin Lee Programs, Socrates, Smack Mellon, Queens Museum, and Bronx Museum.
*...For the printmaker, the press bed is not a window of illusion,
it is the space of social tinkering. The artist is a hacker.
...The viewer participates in an "archeology of uncovering", discerning numerous processes and images containing multiplicities of narratives culminating in an uncovering of the "significant image" and the
realization "I see myself seeing myself."
(*from artist statement, 2015)
(*from artist statement, 2015)
**I am interested in the meaning of the image; image use, the icon, propaganda, mass media, the artistic field, the politics of representation, the ubiquity of the image, the spectacle perfected as image, and ultimately the fragmentation and disappearance of the image. Print media is a deep reservoir, a wellspring for intellectually rooted practice, with easily forged links to active material/process-based practices. I am using this dual approach to ask the question: 'what is the significant image?'
(**2014)
(**2014)
Images: Top: "Plexus"
woodblock print on paper with mirrors (2011)
Middle: "printstallation"
Lower: "Recombinant Histories" drawing on paper with steel, lights, fans and wires; a moving installation piece (2008)
Lower: "Recombinant Histories" drawing on paper with steel, lights, fans and wires; a moving installation piece (2008)
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