Ellington Robinson

Photograph courtesy of Jati Lindsay

Portfolio of Artwork 943-945

In his artist statement, Ellington Robinson focuses on his subjects—race, history, identity, music and musicians, athletics, culture, and rituals, for example—as the materiality of his artworks rather than on his practice or his aesthetic in the making of art. He does the same in his interviews, thus denying us, his viewers, the privilege of hearing from him the aesthetics of his production or the process out of which his practice as an artist is advanced. Referring to some of his specific work in his statement, he argues that

This work is exploring the idea of how economics and culture are used to create political containers that we call states and countries. The world map indicates the constant division of these territories. Simultaneously, the earth’s tectonic plates are shifting and affecting continental forms. Magma is oozing at the bottom of the oceans and forming archipelagos; the Coriolis Effect happens as the earth spins; the gravitation of the sun and moon pull on the Earth and her oceans, causing tides; the Earth’s magnetic forces project from the North Pole and furl into the South. All of these gargantuan and powerful forces of our planet are miniscule to the universe at large, yet our matter shares the same elements as the celestial bodies in our solar system, as a result of the Big Bang and Supernovas. Supreme Magnetic is the consciousness that can stretch through the iron-nickel core of the Earth and swim through the pelagic zones of the oceans and soar across the Exosphere.

So why are geographical divisions necessary? Why Racism, Imperialism, and Classism? I’m still in search of these answers by collage, found objects, and paint.

Peter Gordon ends his interview with Ellington Robinson in Contemporary Art Review (March 13, 2009) with this exchange with the artist:

CAR:

Why is making art important to you? Do you have any suggestions to your audience in regards to viewing your work?

ER:

Making art is a gift and a curse, but if I don’t do it I think I would die. There are a lot of misunderstandings and questions that need solutions and answers. Art allows me to find these remedies, but the irony is that creating initiates more misunderstandings and questions. The well runs deep and is getting deeper.

I have done my job in living through these experiences and conveying them in the creative process; whatever the audience takes away, that is on them. Although it pleases me to know that someone felt my expression, there are far more intense struggles among the inner city youths here in America, the Favelas in Brazil, and the child soldiers in Africa’s civil wars and beyond. I just hope to trigger some thoughts outside of my initial intentions.

I began my interview (June 26, 2015) with Ellington Robinson referring to the aforementioned interview:

ROWELL:

I noticed you said, in one interview with Peter Gordon, that you were leaving your viewers to discern whatever they wish to from your work. Is there anything you would want them to experience from your work?

ROBINSON:

Yes, absolutely. I think that the experience of the work and just looking at the work itself is the experience. It is how it pleases you aesthetically on the first level, but then how it really pleases you on a subliminal level. I hope it touches on all of the meridian points that are key—in terms of who we are as people in the African Diaspora. And if you are not a member of the African Diaspora, I hope it touches you on a sensitivity level in terms of humanity. Where is it we’ve been so far, and where are we going?

ROWELL:

Are there any aesthetic questions that your artwork raises?

ROBINSON:

I think so. I think that if you are not used to found objects and collage work— the amalgamation of certain materials and different time periods coming together—then I think it would be a challenge to you aesthetically. It...