Reviving Tradition: My Story as a Mixed Media Artist

Welcome!

I realize my community is continually growing … you may know me from YouTube, and someone else maybe found me when they were browsing art books at their local bookstore and they came across my gelli printing coffee table tutorial book, yet and still maybe some were introduced to me from an online artist summit… however you found me, I’m glad you are here! Many of you know me as an artist with a funky abstract grunge style inspired by old world aesthetics and ancient symbology but what you might not know is that my journey as an artist is deeply rooted in the revival of traditional arts, it’s a part of my artistic origin story and something I’ve spent decades mastering and teaching….

So for those of you who have yet to hear my story and for those of you who know but bits and pieces I’m going to take you through a quick journey on how I came to teaching techniques that bridge the past with the present, while infusing them with my unique flair.

Fresh out of university, a degree in anthropology with an emphasis on archaeology in my back pocket, I was fueled by my passion for cultural stories and people’s histories. I’ve always been fascinated by how cultures formed, how they communicated and preserved traditions through iconography, & symbology and even the tools, they used. From basket weaving techniques, cooking apparatuses, eco dying and more, I was truly fascinated. This blend of my love for art and history led me to coin the term “ArteoMythologist” to describe my work. I’m a storyteller, using visual dialogues to share rich, cultural narratives with the world. My interest in ancient civilizations spawned my love for learning dying art forms. Techniques that had only been passed on through time by “each one teaching one.” In the 80s, I collaborated with a group of like minded artist to spearhead a cultural shift that sought to save the dying arts of Hand Paper making and the Book Arts. I trained under the guild system, which was fading fast, and alongside many other passionate artists, we resurrected these beautiful art forms. 

Up until this point these artistic disciplines were mainly taught in an apprenticeship fashion. There were no classes you could sign up for, no books you could study and thus as these techniques were making a come back a movement formed to make these art forms a part of art education nationwide. By this time in my career I was a Master in Book Making and Paper Making, and in the 90’s my journey led me to teach these techniques as an adjunct professor at the prestigious Corcoran School of Fine Art in Washington D.C. Later, I founded and established the Book Arts department for The Nation’s Smithsonian Institution Resident Associates Program, guiding hundreds of aspiring book artists through their creative journeys. I then went on to travel across the country as a residence artist in numerous education systems, passing on these same techniques.

During these years, I vividly remember the time I spent teaching in the Printmaking Department at the Corcoran, where the book arts program was thriving. A large part of teaching is removing the barrier between understanding and application. Common barriers to the creative process are intimidation of the process, hesitation to be vulnerable, and being quick to find fault in one’s technique. As we established the curriculum I was fascinated by how tools were an integral part of the artistic process. I saw how having the right tools boosted the confidence of the students, made learning easier and peeled back the layers of intimidation and to some degree hesitation to be inhibited in their imagination. I thought back to my years in university, studying those ancient cultures, where the tools they used were an important part of the story of their lives. The distinct marks a chisel left behind, the hand made finish on pots and vessels, the authenticity of the imperfect lines of their symbols. These tools not only made life easier but became a part of their visual language. I saw for the first time the connection between the practicality of an object and the impact it has as a part of a broader story both personally and collectively. Many years later when I came across the Gel Plate in 2012, I was instantly reminded of the usefulness of a good multi purpose tool. My deep-rooted experience allowed me to transform it from a wonderful crafters’ tool into a fine art instrument accessible to artists of all levels, making art easy, accessible and enjoyable. This went on to become the focus of my latest book, “Gel Plate: A Mixed Media Adventure.” published by Schiffer Publishing (we are nearing 10,000 hardcover sales, thank you all so much!) 

No matter how many classes I’ve taught, times I’ve exhibited, or museums I’ve been displayed in, I always find myself returning back to my roots…exploring ways to help artist be their uninhibited, courageous, creative selves. If you follow me on YouTube you know the one thing I always do is test out new products in my studio, from supplies to gadgets, papers to paints and mark making tools to techniques. Much like I did many years ago as I laid the foundation of the printmaking department and curriculum at the Corcoran, I am always looking for ways to help my students transform their inner monologue into beautiful visual stories and …like we discussed earlier…the common thread across many cultures was they all passed down stories, traditions, rituals, techniques and tools that contributed to the uniqueness of their civilization. 

In our artistic community, I am passing down those very same things and while you may just think of a tool as a means to an end…it’s that very tool that can transform your confidence, transform your ability to succinctly articulate your ideas and open the doors to your creative expression. As the study of ancient ruins often demonstrates, the marks me leave behind have a lasting effect, teaching many generations down the line what life was like and in turn progressing modern life forward. I like to think my time over three decades ago establishing printmaking curriculums as a part of standardized art education, led us here today….where the gel plate is a printmaking tool common on the art store shelf.

As time marches on many more gel plate teachers have emerged over the years—a trend I wholeheartedly support—giving further meaning to the work me and my colleagues spearhead many years ago. Now, as the creative landscape becomes replete with artist that are spreading the knowledge, it’s time to get back to work, moving beyond the now and charting new paths. As we will discover in the coming installments of this email series there is always more to innovate, there are always new boundaries to be pushed and new techniques to be spawned.

Before we part ways I would love to hear about what the barriers are or have been in your journey to artistic expression. Head over to the comments and share your thoughts under this post. 

Much Love! Robyn xo