A Conversation with Robyn Ward

SW

Robyn Ward, what a pleasure to have you on CAI! How have you been?

RW

Hey Sylvia, I have been good, thanks! Just working on the last details of my new series.

SW

Before we dive into your new series of works titled ‘Fucked at Birth,’ I wanted to clarify for our readers why you are probably one of the most international or cosmopolitan artists of this very moment. Could you tell us a bit more about your journey as an artist, traveling from continent to continent?

RW

I have worked in studios across about sixteen countries. The different cultural and religious climates have greatly impacted my personal development and, in turn, my artistic journey. 

SW

Arguably, this continuous change of environment is a great source of inspiration for an artist, maybe even a great starting point for a new series perhaps?

RW

I mainly paint around the social and economic political climate that I see or has impacted me, so moving from country to country definitely gives me more inspiration and knowledge of different views on how society is being shaped and these same situations are viewed by other cultures. Sometimes it is too easy to look at a situation from your own narrative and circumstances. Once you put yourself in someone else’s footsteps, you really start to be able to see a whole other side to a narrative. For me, the most important aspect of moving studios is the smells, colorways, sounds, and tastes that you experience daily in a new city or country and how this subliminally affects your work. I quite often find that different colorways tend to become preferred, or a painting can become more chaotic or peaceful depending on where I am. 

SW

I am right to say every series is connected to a certain moment and/or place in your life.

RW

This series mainly deals with chaos and governance, but it also has a big reference point to my own upbringing in Northern Ireland during the conflict there. I use a lot of layers in my work, and each layer is often a screenshot from a certain moment of my life; this series tends to have quite a lot of moments from Northern Ireland. It’s a series that I have been thinking about and working on for over five years. So it’s great to bring it to life properly finally.

SW

Your latest series ‘Fucked at Birth’ is a continuation of your series ‘Plastic Nation.’ What is the main concept of the series, and in what way is it connected or different from your previous series ‘Plastic Nation’?

RW

‘Plastic Nation’ was a series highlighting how much we are destroying the natural world and its inhabitants of it via our use of plastic—in particular, pointing out the big companies’ use of plastic and our consumption of single-use plastic. ‘Fucked at Birth’ is also highlighting how much we are destroying the world via the systematic breakdown of society and governance, making reference to past wars and leaders, good and bad, whilst also highlighting some aspects of the Northern Irish conflict, which was very much a big part of my life growing up. 

SW

As for the viewer, these immersive paintings have a very strong cinematic quality. Do we need to approach them as a snapshot from a mysterious narrative?

RW

My work is very layered, with each layer telling a different story. I look at pieces and see a very clear narrative, as I mostly paint about parts of my own life or certain personal experiences. Some viewers may read the same narrative whilst others may take away a completely different one. 

SW

When it comes to the technique, it is clear to say the paintings consist of many layers and media. Could you talk us through this creative process?

RW

There are multiple layers and mixed media techniques in terms of oil, acrylic, pastel, and a bit of spray paint, but everything is painted by hand. I use oil for the main detail of the work, with a bit of light pastel at the end. The abstract sections are made from a combination of loose wet brushstrokes and, quite often, random tools which I find out and about. Every object gives you a completely different stroke; this can be an old car window wiper or a brush that has long past its life span.

SW

One could say your works seem to be an amalgamation of many things happening today and from an art historiographical point of view. Street art, abstract art, new realism, and as well art history seem to merge into a new synthesis. What or who are your strongest influences, and how do you situate your works in the current landscape of contemporary art?

RW

Bosch and Bacon have long been my favorite artists, and I take a lot of influence from their work. In particular, I found the subject matter which Bosch painted about I find fascinating. This was at a very different time to how we live now, without social media and widespread news, etc. I also love the chaos and movement of both artists. Banksy will also remain a big inspiration. Spending so much time in and out of the UK, I would constantly see new works of his popping up. When it comes to the current landscape, I don’t think there is anything more interesting at present than the NFT world, and I am looking forward to launching my first NFTs near the end of the month. 

SW

Would you say you were destined to be a painter? As a self-taught artist, did painting come naturally?

RW

I have been painting properly since I was about fourteen. Although it definitely took me a long time to find comfort in my work and ultimately survive off my painting. Any artist who is no longer struggling to pay rent each month is very fortunate! 

SW

Further, where will you and your new series travel in the coming months?

RW

The series will have a small preview in México City in the next couple of months; then, it is going to New York, London, and Los Angeles, with a few more destinations to be announced in the New Year.

SW

We look forward to continuing to follow your journey! It has been a true pleasure to have you, and we wish you all the best. Safe travels!

RW

Thanks so much, Sylvia; take care!