Savannah College of Art and Design, 2014, MFA Fibers
Liz Robb’s art practice focuses on soft sculpture. Based in San Francisco, she works sculpturally to create textured surfaces & forms with natural materials such as wool, cotton, jute, & indigo.
She completed her BFA in Fashion Design at the University of Cincinnati and her MFA in Fibers at the Savannah College of Art & Design. Robb has exhibited her work both nationally and internationally, and has most recently completed a residency at Pocoapoco in Oaxaca de Juárez, México.
Avant-garde art aficionados of a certain (i.e., advanced) age will remember when the soft sculpture of Claes Oldenburg was the newest outrage against the cultural norm of traditional art materials. A decade later, women’s craft techniques and feminist criticism invaded male bastions of culture. Nowadays, sewn sculpture is no longer seen as a challenge to aesthetic gravitas or paternalistic authority, so Liz Robb’s new work in fiber, aligned with a postminimalist interest in process, can be rightly appreciated on its own terms.
-Recommendation by DeWitt Cheng
I work sculpturally to capture a moment in time using active processes that become meditations: indigo dyeing, weaving, wrapping, compressing, structuring, ordering, and releasing. The repetition of these acts fosters a connection between the subconscious mind and the body, and these full body rhythmic movements allow my stream of consciousness to expand on certain conceptual ideas and develop more thoughtful conclusions.
My work is on the continuum of dialogue between the grid and its manifestations as form, content, and medium through threads, weaving, and painting. I utilize the power of the materials to construct architectural frames from which to build weighted objects in space. Localized patterns of organization translate unique spatial and physical relationships between the viewer and the sculptures. Parts of a sculpture can be compact and highly detailed, whereas others are unraveled and cascade onto the floor. Many can be installed in multiple configurations, hung from the wall or ceiling, allowing for multiple vantage points for the viewer to engage with two or three structural planes. I respond to the inherent energy of the materials and how they interact and form my decisions, balancing the tension between my control and relinquishment of control through the process.
Experiencing the work reveals the materiality and inherent makeup of the natural fibers like cotton, jute, and wool. Washes of indigo blues and bright pinks highlight the texture and dimensionality of a pebbled knot or stitch and transform a canvassed piece at large. The visceral experience of the work conveys a message of beauty and form that exemplifies my interpretation of the grid.
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