Clair Robins

When I created these 'museumesque' photographic sculptural ‘still live’ pieces from unwanted packaging, I wanted to immortalise the 'waste' and 'left overs'. It made me question if scientists are creating alternative options with revolutionary materials to replace todays commonly used packaging? Alternative materials are being slowly introduced such as compostable and biodegradable wrappings, however recycling cardboard does have limitations. Will the very distant future of mankind look at these items and be horrified with the leftovers of their ancestors?

When I created these 'museumesque' photographic sculptural ‘still live’ pieces from unwanted packaging, I wanted to immortalise the 'waste' and 'left overs'. It made me question if scientists are creating alternative options with revolutionary materials to replace todays commonly used packaging? Alternative materials are being slowly introduced such as compostable and biodegradable wrappings, however recycling cardboard does have limitations. Will the very distant future of mankind look at these items and be horrified with the leftovers of their ancestors?

When I created these 'museumesque' photographic sculptural ‘still live’ pieces from unwanted packaging, I wanted to immortalise the 'waste' and 'left overs'. It made me question if scientists are creating alternative options with revolutionary materials to replace todays commonly used packaging? Alternative materials are being slowly introduced such as compostable and biodegradable wrappings, however recycling cardboard does have limitations. Will the very distant future of mankind look at these items and be horrified with the leftovers of their ancestors?

When I created these 'museumesque' photographic sculptural ‘still live’ pieces from unwanted packaging, I wanted to immortalise the 'waste' and 'left overs'. It made me question if scientists are creating alternative options with revolutionary materials to replace todays commonly used packaging? Alternative materials are being slowly introduced such as compostable and biodegradable wrappings, however recycling cardboard does have limitations. Will the very distant future of mankind look at these items and be horrified with the leftovers of their ancestors?

When I created these 'museumesque' photographic sculptural ‘still live’ pieces from unwanted packaging, I wanted to immortalise the 'waste' and 'left overs'. It made me question if scientists are creating alternative options with revolutionary materials to replace todays commonly used packaging? Alternative materials are being slowly introduced such as compostable and biodegradable wrappings, however recycling cardboard does have limitations. Will the very distant future of mankind look at these items and be horrified with the leftovers of their ancestors?

When I created these 'museumesque' photographic sculptural ‘still live’ pieces from unwanted packaging, I wanted to immortalise the 'waste' and 'left overs'. It made me question if scientists are creating alternative options with revolutionary materials to replace todays commonly used packaging? Alternative materials are being slowly introduced such as compostable and biodegradable wrappings, however recycling cardboard does have limitations. Will the very distant future of mankind look at these items and be horrified with the leftovers of their ancestors?

Merging Present & Past - Why are we forever searching and seeking out the past? Part of our being is constructed to be nostalgic and reminiscent. We often have an ardent desire to revisit and reflect on hazy memories to straighten out the facts from our childhood. Holding onto the past is never really complete, there are facets that get distorted and reimagined - the information is past down and not always correct, sometimes understated or embellished. Distinct memories and desires interpolate the truth, and fill-in the gaps. However objects and personal possessions reveal elements of the truth, that we can’t overlook. Is it quite bizarre to want to hoard ‘souvenirs’, or is this intrinsic to human nature – never really wanting to quite let go or move on? My collection of keepsakes are more than mementoes; these images are a record of our family history – physical connections that have shaped our future and informed us of our past. Used, loved, practical or treasured, passed on from mother, to father, to daughter and granddaughter. In this work I am both visually and conceptually exploring the ever-shifting changes within my family and my obsession to preserve ‘things’ as a reminder, almost keeping rooted to who I am and where I come from. Through my image making, that combines current shots and images photographed at my ‘empty’ late grandma’s house in 2011, I have endeavoured create new opportunities, explore previously unshared stories though my memories and false (or truthful) recollections. The diptychs are slowly piecing together my fond memories of Edna and how she lived, exploring her possessions and reflecting how grandparents for most, can be key elements of family life. They had such an impact on me and my sister during my childhood years, and help shaped my upbringing, not just a babysitter, but, a good listener, a storyteller and a helping hand. History is now repeating itself with my two daughters. We need to keep collecting and adding to this huge historical narrative for the future, my images hope to preserve and celebrate the ordinary.

Merging Present & Past - Why are we forever searching and seeking out the past? Part of our being is constructed to be nostalgic and reminiscent. We often have an ardent desire to revisit and reflect on hazy memories to straighten out the facts from our childhood. Holding onto the past is never really complete, there are facets that get distorted and reimagined - the information is past down and not always correct, sometimes understated or embellished. Distinct memories and desires interpolate the truth, and fill-in the gaps. However objects and personal possessions reveal elements of the truth, that we can’t overlook. Is it quite bizarre to want to hoard ‘souvenirs’, or is this intrinsic to human nature – never really wanting to quite let go or move on? My collection of keepsakes are more than mementoes; these images are a record of our family history – physical connections that have shaped our future and informed us of our past. Used, loved, practical or treasured, passed on from mother, to father, to daughter and granddaughter. In this work I am both visually and conceptually exploring the ever-shifting changes within my family and my obsession to preserve ‘things’ as a reminder, almost keeping rooted to who I am and where I come from. Through my image making, that combines current shots and images photographed at my ‘empty’ late grandma’s house in 2011, I have endeavoured create new opportunities, explore previously unshared stories though my memories and false (or truthful) recollections. The diptychs are slowly piecing together my fond memories of Edna and how she lived, exploring her possessions and reflecting how grandparents for most, can be key elements of family life. They had such an impact on me and my sister during my childhood years, and help shaped my upbringing, not just a babysitter, but, a good listener, a storyteller and a helping hand. History is now repeating itself with my two daughters. We need to keep collecting and adding to this huge historical narrative for the future, my images hope to preserve and celebrate the ordinary.

Merging Present & Past - Why are we forever searching and seeking out the past? Part of our being is constructed to be nostalgic and reminiscent. We often have an ardent desire to revisit and reflect on hazy memories to straighten out the facts from our childhood. Holding onto the past is never really complete, there are facets that get distorted and reimagined - the information is past down and not always correct, sometimes understated or embellished. Distinct memories and desires interpolate the truth, and fill-in the gaps. However objects and personal possessions reveal elements of the truth, that we can’t overlook. Is it quite bizarre to want to hoard ‘souvenirs’, or is this intrinsic to human nature – never really wanting to quite let go or move on? My collection of keepsakes are more than mementoes; these images are a record of our family history – physical connections that have shaped our future and informed us of our past. Used, loved, practical or treasured, passed on from mother, to father, to daughter and granddaughter. In this work I am both visually and conceptually exploring the ever-shifting changes within my family and my obsession to preserve ‘things’ as a reminder, almost keeping rooted to who I am and where I come from. Through my image making, that combines current shots and images photographed at my ‘empty’ late grandma’s house in 2011, I have endeavoured create new opportunities, explore previously unshared stories though my memories and false (or truthful) recollections. The diptychs are slowly piecing together my fond memories of Edna and how she lived, exploring her possessions and reflecting how grandparents for most, can be key elements of family life. They had such an impact on me and my sister during my childhood years, and help shaped my upbringing, not just a babysitter, but, a good listener, a storyteller and a helping hand. History is now repeating itself with my two daughters. We need to keep collecting and adding to this huge historical narrative for the future, my images hope to preserve and celebrate the ordinary.

Merging Present & Past - Why are we forever searching and seeking out the past? Part of our being is constructed to be nostalgic and reminiscent. We often have an ardent desire to revisit and reflect on hazy memories to straighten out the facts from our childhood. Holding onto the past is never really complete, there are facets that get distorted and reimagined - the information is past down and not always correct, sometimes understated or embellished. Distinct memories and desires interpolate the truth, and fill-in the gaps. However objects and personal possessions reveal elements of the truth, that we can’t overlook. Is it quite bizarre to want to hoard ‘souvenirs’, or is this intrinsic to human nature – never really wanting to quite let go or move on? My collection of keepsakes are more than mementoes; these images are a record of our family history – physical connections that have shaped our future and informed us of our past. Used, loved, practical or treasured, passed on from mother, to father, to daughter and granddaughter. In this work I am both visually and conceptually exploring the ever-shifting changes within my family and my obsession to preserve ‘things’ as a reminder, almost keeping rooted to who I am and where I come from. Through my image making, that combines current shots and images photographed at my ‘empty’ late grandma’s house in 2011, I have endeavoured create new opportunities, explore previously unshared stories though my memories and false (or truthful) recollections. The diptychs are slowly piecing together my fond memories of Edna and how she lived, exploring her possessions and reflecting how grandparents for most, can be key elements of family life. They had such an impact on me and my sister during my childhood years, and help shaped my upbringing, not just a babysitter, but, a good listener, a storyteller and a helping hand. History is now repeating itself with my two daughters. We need to keep collecting and adding to this huge historical narrative for the future, my images hope to preserve and celebrate the ordinary.

Did you visit this place? Our precious planet and todays population are currently paying a hard penalty to our continued neglect and blasé attitude towards Mother Nature. CO2 emissions, pollution, and ignorance to the climate crisis is talking its tole. But are we in a position to act further, be stronger as a nation and planet – listen, respond and respect the experts advice? This body of work is directly inspired by the experiments and findings of Eunice Foote (1819 –1888) conducted over 175 years ago. Eunice was an American scientist and women’s rights campaigner from New York. She is recognized to be the first person to record that changing the proportion of carbon dioxide in the atmosphere would change the average atmospheric temperature – basically the impact of carbonic gas on our atmosphere (now known as carbon dioxide) and relationship to the greenhouse effect and climate changes. My images reflect and question her studies, they identify with our present, and possible future without action. Metaphors and symbolic still-life works are composed to question what we may lose.

Did you visit this place? Our precious planet and todays population are currently paying a hard penalty to our continued neglect and blasé attitude towards Mother Nature. CO2 emissions, pollution, and ignorance to the climate crisis is talking its tole. But are we in a position to act further, be stronger as a nation and planet – listen, respond and respect the experts advice? This body of work is directly inspired by the experiments and findings of Eunice Foote (1819 –1888) conducted over 175 years ago. Eunice was an American scientist and women’s rights campaigner from New York. She is recognized to be the first person to record that changing the proportion of carbon dioxide in the atmosphere would change the average atmospheric temperature – basically the impact of carbonic gas on our atmosphere (now known as carbon dioxide) and relationship to the greenhouse effect and climate changes. My images reflect and question her studies, they identify with our present, and possible future without action. Metaphors and symbolic still-life works are composed to question what we may lose.

Did you visit this place? Our precious planet and todays population are currently paying a hard penalty to our continued neglect and blasé attitude towards Mother Nature. CO2 emissions, pollution, and ignorance to the climate crisis is talking its tole. But are we in a position to act further, be stronger as a nation and planet – listen, respond and respect the experts advice? This body of work is directly inspired by the experiments and findings of Eunice Foote (1819 –1888) conducted over 175 years ago. Eunice was an American scientist and women’s rights campaigner from New York. She is recognized to be the first person to record that changing the proportion of carbon dioxide in the atmosphere would change the average atmospheric temperature – basically the impact of carbonic gas on our atmosphere (now known as carbon dioxide) and relationship to the greenhouse effect and climate changes. My images reflect and question her studies, they identify with our present, and possible future without action. Metaphors and symbolic still-life works are composed to question what we may lose.

Did you visit this place? Our precious planet and todays population are currently paying a hard penalty to our continued neglect and blasé attitude towards Mother Nature. CO2 emissions, pollution, and ignorance to the climate crisis is talking its tole. But are we in a position to act further, be stronger as a nation and planet – listen, respond and respect the experts advice? This body of work is directly inspired by the experiments and findings of Eunice Foote (1819 –1888) conducted over 175 years ago. Eunice was an American scientist and women’s rights campaigner from New York. She is recognized to be the first person to record that changing the proportion of carbon dioxide in the atmosphere would change the average atmospheric temperature – basically the impact of carbonic gas on our atmosphere (now known as carbon dioxide) and relationship to the greenhouse effect and climate changes. My images reflect and question her studies, they identify with our present, and possible future without action. Metaphors and symbolic still-life works are composed to question what we may lose.

Am I here? - is a body of work that photographically explores my immediate surroundings within my hometown of Leicester UK, merged with my longing desire to be by the coast. Fusing & connecting my worlds. Facets of seascapes and skylines, collide with buildings & factories that form part of Leicester’s knitting & hosiery industry hidden away behind grilled windows. Textures and urban patterns reflect my constant sense of limbo, is this view real or fantasy? By creating a new perspective of environmental landscapes and layering both portals I have digitally woven these views into ‘printed’ still life artworks, almost like postcards – a proud record that echoes frustration for being restricted from travel.

Am I here? - is a body of work that photographically explores my immediate surroundings within my hometown of Leicester UK, merged with my longing desire to be by the coast. Fusing & connecting my worlds. Facets of seascapes and skylines, collide with buildings & factories that form part of Leicester’s knitting & hosiery industry hidden away behind grilled windows. Textures and urban patterns reflect my constant sense of limbo, is this view real or fantasy? By creating a new perspective of environmental landscapes and layering both portals I have digitally woven these views into ‘printed’ still life artworks, almost like postcards – a proud record that echoes frustration for being restricted from travel.

Am I here? - is a body of work that photographically explores my immediate surroundings within my hometown of Leicester UK, merged with my longing desire to be by the coast. Fusing & connecting my worlds. Facets of seascapes and skylines, collide with buildings & factories that form part of Leicester’s knitting & hosiery industry hidden away behind grilled windows. Textures and urban patterns reflect my constant sense of limbo, is this view real or fantasy? By creating a new perspective of environmental landscapes and layering both portals I have digitally woven these views into ‘printed’ still life artworks, almost like postcards – a proud record that echoes frustration for being restricted from travel.

Am I here? - is a body of work that photographically explores my immediate surroundings within my hometown of Leicester UK, merged with my longing desire to be by the coast. Fusing & connecting my worlds. Facets of seascapes and skylines, collide with buildings & factories that form part of Leicester’s knitting & hosiery industry hidden away behind grilled windows. Textures and urban patterns reflect my constant sense of limbo, is this view real or fantasy? By creating a new perspective of environmental landscapes and layering both portals I have digitally woven these views into ‘printed’ still life artworks, almost like postcards – a proud record that echoes frustration for being restricted from travel.

Clair Robins

‘In a world of uncertainty, I can always rely on image making to express my ideas and concepts.’

Robins is a photographic visual artist and educator in FE from Leicester UK. She is an obsessed image maker – her work, approach and style has been evolving throughout her life and has overlapped both traditional and digital processes.

Much of Robins artwork creations has stemmed from observation of the mundane and daily life. Nostalgia, memories and conceptionally constructed scenarios often emerge and question within her story telling. Visual language, narrative and aphoristic humour collides with her compositions and observations, her work is quite personal and intimate, occasionally using her growing daughters as ‘props’ in her photographs.

Collections, artefacts, portraiture merge and collide with memorabilia, within her still life photographs. Robins’ passionate reflection on ‘who we are’ and ‘how we live’ probes and connects on many levels, ultimately it examines our existence and world.

Much of her current work has taken inspiration from the pandemic and lockdown restrictions, it’s really given her an opportunity to re-evaluate her environment and the simple challenges we encounter on a daily basis.

It’s fairly easy to recognise that the mundane is never mundane in Robins compelling creations.

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