CORINNE ROBBINS - Hindsight
CORINNE ROBBINS - Hindsight
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  • Load image into Gallery viewer, CORINNE ROBBINS - Hindsight

CORINNE ROBBINS - Hindsight

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Oil on Canvas 2011-13

Size: 20 x 20 inches

Though purely abstract, this painting has a horizon line and spatial references to a landscape. Painted in melancholy colors reminiscent of Philip Guston. The idea of ‘hindsight’ is true in the process of painting. Things make sense once they are finished.


Artist Bio

Corinne Robbins received a BA from Bennington College and an MFA from Hunter College, in 1985. She worked for the renowned installation artist, Judy Pfaff as her studio assistant for four years, then went on to work at the Warhol Foundation and Max Protetch Gallery, in the 1990s. During a time when the art world was exploding with conceptual work, she dutifully painted fanciful, impressionistic landscapes, in her Brooklyn studio. Deeply embedded in the New York art scene, she began to feel oddly discouraged by it. In 1998, she quit painting altogether, turned to design, and opened a shop in Manhattan selling 20th century modern furniture. In 2004, she bought a home in upstate New York, and began to paint prolifically, after a six-year hiatus. Her recent achievements include a merit award from the Vermont Studio Center in 2020. While at her residency she started a series of diptychs depicting northern Vermont’s winter landscapes. Some of these were exhibited at the Albany Institute in Albany, NY and at the Bennington Museum, in an exhibition titled Vermont’s Utopia: Imagining the Future. Robbins was a finalist for the Orlowsky and Freed Grant in 2019, and in 2017 her work was featured in a two person show at Carrie Haddad Gallery in Hudson, NY. She is attending the Byrdcliffe Art Residency in Woodstock, NY during the month of September 2021.

My practice is composed of colorful landscapes, made of oil paints, depicting current responses to nature. They portray a rich contextual version of nature’s narrative, as I pass through it in my everyday life in upstate New York. Through my mind's eye I portray and document an underlying melancholia we do not see. This mysterious, biological, and mental underworld is formed by bringing the grounded and the conjured together. By intrinsically bringing these two realms together, the grounded and the conjured; I forge forward to create ‘hope’ in an image. Created by a state of survival, these works are about impressions, correlations, and yearnings.

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