Robin Raznick Los Angeles, CA Age 63
What keeps you excited in the studio? Gosh, I have so many ideas and not enough time to execute them all. So, I guess one thing that excites me is ideas: visualizing, research and gathering materials. My paintings sometimes have a lot of materials other than paint in them. I get pretty jazzed throwing something in the mix and the challenge of making it work. I don’t think about it too much, if it crosses my mind, I try it. Usually, I will keep working something to fruition. That’s really fun when it sits right. I love paint, clay, fabric, organic stuff…floats my boat.
Looking back at your trajectory as an artist, how would you say your work has developed? It's an interesting question that coincidentally I was just talking about yesterday. I was fortunate as a teen to have some schooling in England and was taken to the Tate and Victoria and Albert Museums by an Art History professor. There was a Hockney retrospective going on, as well as the Turner paintings at the V and A, and I just stood in front of these works and my hair blew back. Up until this point I’d thought I would design fabrics, or something in the decorative arts, but that day, I left saying…I’m going to be a painter. Since my earliest artmaking days, I’ve been attracted to color, pattern, texture, and flat space within natural environments and these concepts still fascinate. For the past 3 years or so I have added organic materials gathered from the sights that inspire the work. It's an important part of the process for me because the paintings are large scale and highly layered and detailed so I work in the studio but bringing in the natural objects, soils, nests, feathers, allows me to feel the tactile qualities of the site and bring the outdoors, in. I do sculpt now as well as paint and love the interdependence as the two mediums are constantly informing one another.
What role do you think the artist has in today’s society? Honestly, I can only speak for myself in that I feel the artists role and responsibility is to speak their truth, whatever that may be. They may, or may not have a large political agenda. I share my ideas, visions, hopes and dreams, dilemmas, and concepts that organically haunt my thoughts. I’m hopeful that I’ve done the research and investigation, and have been honest enough during execution that when someone views the work, they can have a visceral response. They may find beauty and joy, perhaps feel a sense of message, question its validity, or be annoyed. It’s not for me to say. But my work is a personal reflection of my preoccupations and how I move through the world. So, I think it would be presumptuous of me to speak on what someone else’s role and responsibility is as an artist.
What’s the most important advice you could give to an aspiring artist? I think all of us might say this...make art daily. Have a consistent practice and protect it. And then, get it out there because no one is banging on your studio door begging for your work. Be prepared for 10, 20, 30 times as many rejections as acceptance...just keep trunkin'.
Does age matter in art? Why or why not? Well...” time” is relative. So, if we are quantifying based on time, I guess age is somewhat relevant. I believe in the Gladwell concept of 10,000 to expertise. But, in the case of artmaking, I think it's closer to 20,000. When you look at artists like Hockney, Bartlett, O’Keeffe, Kiefer, Monet, it's evident that there is not only a quantifiable measurement of expertise, but a metaphysical and spiritual transition that happens with the artmaker during that labor. The spirit and soul of the maker is communicating through the work, it's alive. Not to say there isn’t good work being done by younger artists. Clearly, Schulnik, Eisenman, Baez are brilliant and it’s evident they and many others are doing the “time”. However, I'm an educator who has worked with young artmakers for over 25 years and they never cease to excite and inspire too!
What can we look forward to from you next? A foundational thread in my work is the interaction and interdependence of humans, creatures, the land. I've lived all over California, and currently share time in both Los Angeles and the desert. As I've been spending more time back in my hometown of Hollywood, I'm working on a newer series that I love based on gardens that have influenced me, childhood through adulthood. I grew up in the canyons, and my family and friends have lived all over from the beaches to Pasadena, so I've got a lot of territory to cover. As well, I've just been invited by curator Andi Campagnone to a solo show in the gallery at Descanso Gardens 2027, and will be looking to that magical place for inspiration. It's busy, but exciting!
Is there anything else you would like to share about being an artist later in life? I guess in your 60's maybe you glean a bit of gratitude and wisdom. The reality is, it’s almost impossible to put words into the feeling of being granted the DNA chain of an artmaker. I would say I am more excited about the work then I have ever been. I’m certainly more masterful in execution which allows for a sense of freedom and provides opportunity for a spiritual practice where the thinking flows with the making. There’s a sense of accomplishment, with a large dose of humility and awareness that I’ve just scratched the surface of learning.
