"Resisting Collapse" "Resisting Collapse"
"Imminent Collapse" "Imminent Collapse"
"Fractured Millstone" "Fractured Millstone"
"Flying Away and Falling Apart" "Flying Away and Falling Apart"
"Resisting Collapse""Imminent Collapse""Fractured Millstone""Flying Away and Falling Apart"

Resisting Collapse

Wood Sculpture

Imminent Collapse

Wood Sculpture

Fractured Millstone

Wood Sculpture

Flying Away and Falling Apart

Wood Sculpture

Robyn Hutcheson Horn

It has been reassuring to me that, during the last few years, I have been able to integrate my visual language, applying my knowledge of sculpture to painting. Having developed an aesthetic that is both formal and minimal, I am enjoying the freedom to work spontaneously with layered surfaces, mark making and color. Some of the themes that have transferred easily are geometry, volume, asymmetry, lack of balance, textural qualities and contrast. I have noticed how Marcel DuChamp’s painting “Nude Descending A Staircase” has as much guidance for me when it comes to painting as it did for the Slipping Stone Series I explored in my sculpture. My interest in Cubism and Futurism also relates to both painting and sculpture, so the transition has been fairly seamless. The experience of using new materials has given me a process through which I have been able to evaluate aspects of the work, eliminating and expanding as I make decisions about composition and surface. I am particularly encouraged by the results of the mark making with charcoal that has evolved from a simple process to a valued dimension, resulting in adding volume to the work. As opposed to my sculptural career which moved forward in small incremental steps, my painted work is changing very rapidly and is a source of considerable inspiration and exhilaration for me.