Emilee Robinson

Emilee Robinson (b. 2000) is an expanded printmedia artist, living and working on unceded Gadigal land.

Her work explores themes of nostalgic affect, the loss of childhood, and the narrative life of loved objects.

Robinson’s work occupies a field in post-freudian and anthropological theory, with an interest in preserving and reviving the past. Hovering between the presence and absence of memory, overarching themes include loss, attachment and sentimentality and an investigation into “growing-up” as an irreversible force. Nostalgic symbols occupy a majority of Robinson’s practice, providing insights into objects that create portals into an inaccessible time. Her work further explores the integration of new materials into the print matrix and techniques that transcend an established visual language in the discipline’s rich history.

Robinson is currently in her first year of her Master of Fine Art at the National Art School.

Tell us about your creative process, what drives your practice?

This is such a loaded question - so many things. I recently realised that scrolling through eBay was one of the most inspiring components of my creative process. Looking at surrendered toys from strangers on the internet is such a bizzare and covert thing that I love to do. I also used to think that keeping a “thought journal” was tacky but I’ve now submitted to the idea. A lot of the nonsense in my head can help make space for new work, especially stuff that I write when I’m half-asleep or emotional. My mum never threw out anything from when I was little and I have so much archival material to work with, so I revisit games or objects from my childhood to see what feelings they conjure up, too. There are so many complex processes that are possible in printmaking and, naturally, I just like experimenting with materials and ramblings to see where they end up - most of the time I’m throwing stuff at the wall to see if it sticks.

The use of common childhood iconography is prevalent in your works. What drew you to focus on this subject matter and particular stage of life?

For me, there’s a deep-seated mourning for my childhood that can’t really be admitted as a valid loss, or a grief - it’s a strangely complicated relationship with temporality and growing up. I’m looking at nostalgic objects as “living entities” and portals into the past, to revive something that should probably be left in the past. Memories become fugued the more you grow away from them, and my processes are an attempt to embalm them/seek sanctuary in them. Over the course of my MFA, this interest has been sustained by reading about attachment theory and the sentient life of objects - it’s interesting to know that most people have sentimental relationships to things from their past! Though, at the core of these themes is an attempt to try and understand myself and my attachment to a simpler time in my life - often, that results in work that hovers in a purgatory between a vague memory and something more anguished.

What is the significance of integrating new technologies with traditional modes of printmaking within your practice?

Traditional printmaking holds its roots in lots of technical, chemistry-based techniques and naturally, “new technologies'' are an extension of my interest in those complicated processes. The contemporary print studio (the one that I’m familiar with, at least) evades any material definitions, and we’re moving towards a discipline that is so flexible and expansive. Through my BFA and MFA, I’ve met artists who are doing incredible things with materials that you’d never expect to find in the studio. For me, I think it's essential to experiment with new modes of making because they can realise the ideas I’m exploring much clearer than traditional studio methods - especially since I’m working with neurotic concepts. More recently, I’ve started experimenting with laser holography (a crazy technique that's been around since the 60’s) and this method can achieve ghostly, parallax compositions that no traditional printmaking technique can do. The idea of what “printmaking” can be is so broad - the field offers a unique platform to understand alternative processes in so many capacities.

Are there any female printmakers | artists that influence you?

I could write forever about Katthy Cavaliere. I have no idea how I didn’t come across her work until I read her book this year. Katthy also used childhood remnants as material, but her attachment to these objects were used in an attempt to make sense of her past, mortality and trauma. Her diary entries and wider practice is so uniquely vulnerable. I also love the work of Frances Barrett and Darsha Hewitt, both artists working in the field of expanded technology and soundscapes who give some great insight into the potential of science-based mediums (I particularly love Meatus and Feedback Babies, respectively). Of course, Nicci Haynes and Saskia Haalebos, who I’ve been lucky enough to pick the brains of. I’ve been surrounded by so many inspiring women that I’ve met through NAS, and the advice and patience of my HOD, Carolyn Craig, has really helped me push through.

Finally, what exciting projects are you working on at the moment?

I’m finishing the first half of my MFA and my brain has swollen to thrice its mass. There have been so many things that I’ve learnt this year and I’ve really been able to refine my research field. It’s exciting to see that I’m capable of something that I didn’t think I’d be able to do. For now, I’m testing out a variety of casting processes, wrapping my head around the holography thing, preparing for my final year of study, and warming up to the idea of applying for residencies and prizes. I think a big part of that is figuring out where I’ll fit into the “professional art world”, whatever that might stand for. My finest work, though, will be my first trip to Europe with my partner as an excuse for “artistic immersion” (If we ever get around to booking it. I know you’re reading this, Max).