Robyn Brianna Young


Robyn Brianna Young



My studio practice is driven by process. I love to learn through materials and continue developing a language in painting that is based on play and experimentation.

I have two collections of work - one draws from nature and the other from the human body. They branch off from one another in their thematic content, but often inform eachother in how they are both made from similar materials and usually have color palettes that are dark or muted.

The imagery in nature uses topographic lines, layers of color, and simplistic compositions. Some of the pieces are interpretations of tangible things in nature such as sliced open geodes, lunarscapes, or bodies of water. I wanted to make work that was smaller, more accessible, and still rooted in the materials I’m attached to and the vague imagery I enjoy producing.

My second series of work uses the body as a vehicle for stories. It was an idea I began developing as a studio art student at WSU. The paintings are hazy images of bruises at different stages- made in a zoomed in oversized scale. They are essentially landscapes- but of the body. My intention is to use the image of a bruise to talk about human resilience- how we process different forms of trauma, and how we recover from it. I also think it is a great metaphor for how humans are constantly in a state of change- evolving and transitioning. The pieces are meant to be simultaneously confrontational and cathartic.

Some people who have seen both collections of work tell me they can see correlations- that some of the newer work looks anthropomorphic or reminds them of scans of the body, skin up close, or something under a microscope. I’ve also had people tell me that the bruise pieces look like nebulous landscapes. In any case, I’m just thrilled to be making two distinct kinds of work that I haven’t grown tired of. 

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