The Observer Observing

The Observer Observing is a deeply reflective body of work that invites viewers into moments of contemplation, where the boundaries between the inner self and the natural world begin to blur. Through softened figures, expansive cloudscapes, familiar animals and tranquil landscapes, the exhibition explores themes of witnessing, solitude, presence and perception.

We spoke with the Robyn about the inspiration behind this new collection, the evolving painting process that shaped these works, and the personal experiences that informed this thoughtful and atmospheric exhibition.

Was there a particular moment or idea that sparked this body of work? What themes were you most interested in exploring through these paintings?

I found myself returning again and again to ideas of witnessing. Over the past 2 years there have been moments of hurt, joy, uncertainty and solitude. My dog Freddie became a faithful companion through much of that time along side my cats Frankie and Archie and I often felt we were witnessing one another in different ways. The trees, the animals and skies that appear throughout the work are connected to that experience. They are places of comfort, regulation and reflection for me.

I have been present and absent all in the same moment.

What does the phrase "The Observer Observing" mean to you personally?

For me it speaks to reflection , attentiveness and the ongoing dialogue between inner and outer worlds. I became conscious of not only looking at a subject but also of watching my own responses to it.

Nature appears throughout the exhibition in the form of trees, animals and cloudscapes. What significance do these subjects hold for you? Are they personal? I always figured the dog, was your dog.

They are places of regulation and comfort.

Can you tell us about your creative process when developing a new body of work?

In the past I often relied on a more heavily worked surface and thicker applications of paint. With these paintings I became interested in allowing forms to emerge more gradually through layers, atmosphere and restraint. Rather than directing every outcome, I tried to remail open to what the painting was suggesting. The process became less about certainty and more about assertiveness - listening responding and allowing ambiguity to remain present. This approach also developed through the vignette works from my summer presentation, where I began exploring a more distilled visual language.

Did any unexpected themes or motifs emerge while making this collection?

The idea of disappearance emerged more strongly than I anticipated. Figures animals, and forms often seem to hover between appearing and dissolving. I wasn’t consciously pursuing that at the beginning, but as the work developed, I became interested in those transitional states - moments that feel both present and fleeting. The notion of witnessing also surfaced repeatedly, linking many of the works together.

Your work often balances representation and abstraction. How do you navigate that relationship?

I don’t see representation and abstraction as opposites. For me they exist in conversation with one another. representation provides and entry point, while abstraction creates space for emotional and intuitive responses. I am interested in the threshold between recognition and ambiguity, where and image can be both specific and open ended. often the most meaningful moments occur when a painting hovers between those two states.