A trawl through the Instagram feed of artist Josh Robbins yields some fascinating insights. In one video, paper is stuck to the ceiling while Robbins lies on the floor, his arm pointing a long stick into the air above him, onto the end of which a pencil is attached. In another video reminiscent of a game of pin the tail on the donkey, a child stands twirling a canvas in one direction and then the other, while Robbins attempts to draw on it with his eyes closed.
Elsewhere, his arm is hooked up in an elastic contraption, which another of his ‘assistants’ (aka, offspring) yanks, entirely at their own whim, derailing the lines Robbins is in the process of tracing on his canvas. “My current body of work explores the idea of ‘natural abstraction’ and is somewhat of a challenge to the history and contrived nature of still life painting,” the artist explains.
Using the Dutch Masters as its point of departure, the series defies the accuracy and realism typical of the genre through Robbins’ use of experimental techniques. Blind drawing, having people manipulate his body, purposely disorienting himself and using sticks or drills to hold the drawing implements are all part of the creative process – and the fun.
Based in Melbourne, Robbins has now been a practicing artist for about 12 years. “Ever since I was a child, I loved to draw,” he says. However, being severely bullied for this passion in primary school snuffed out his enthusiasm and led him to abandon art for several decades.
Following an early career in advertising, Robbins’ passion for artmaking was reignited when he mounted his first solo exhibition during a career break. It wasn’t long after that he decided to dedicate himself to art in earnest. He has since exhibited in 10 solo shows and many more group exhibitions in Victoria, South Australia, Western Australia and London.
“A typical day in the studio usually starts with coffee and contemplation/procrastination. Then music. Some muttering. Procrastination. Coffee. Swearing. Staring. Distraction. Painting. Unpainting. Loving. Hating. Procrastination. Drinking. More painting.”
The first part of Robbins’ artistic career drew inspiration from the natural world, producing works aimed at achieving “nothing more than beauty”. However, undertaking a Graduate Certificate of Visual Art from Victorian College of the Arts (VCA) in 2018 spawned a new artistic direction.
Robbins describes the style he has since evolved as ‘conceptual Modernism.’ Ideas, materials and craft each play their role, and every project exists in its own right, rather than being stylistically driven. Often touching on themes of vulnerability, alienation and acceptance, the oeuvre can holistically be seen as a celebration of the painted medium.
“I’ve always loved using paint,” says the artist. “How it looks, its graphic nature, how it moves, how it smells, how it can surprise you with what it wants to do.” This is never clearer than in his latest series, where a single still life arrangement has been translated into 17 diverse and original interpretations. Endowed with distinct colours, character and painting techniques, each work conveys a unique vision. But common to all is the manifest delight Robbins took in their creation.
Above: Artist Josh Robbins. Photo: Emma Robbins. Courtesy: the artist.
Josh Robbins, Dead crow, dead mouse holding cheese, foam skull, CD holder,
dead flowers, tin can, syringes, bulldog clips, black velvet, lace and table legs (One), 2023. Oil, charcoal and enamel on linen, 130 x 90cm. Courtesy: the artist.
Josh Robbins, Succulents, palms, blue brontosaurus, pot, blue fabric and white stool (With Besser Bricks), 2023. Oil, enamel, charcoal, plaster and seed pods on linen, 130 x 90cm. Courtesy: the artist.
Josh Robbins, Vase, flowers, plastic owl, black velvet, table legs, dad and imagined gold watch (Red), 2023. Oil, enamel, charcoal and acrylic on linen, 130 x 90cm. Courtesy: the artist.