Interdisciplinary. Community. Advocacy. Humor.
Image above: One Letter Apart, 2013, machine and hand knitted wool, hand crocheted wool, expanding foam, ball of sisal, second-hand hand knitted wool glove, antique glass bead necklace, flints, sequins, glitter, mohair yarn, dress pins on oak base, approx 1700 × 550 × 430 mm) Installation photography: Ben Coode-Adams.
Freddie Robins combines a variety of craft elements elegantly and with a playful wit. She uses knitting to talk about contemporary issues around gender and the human condition, as well as the preconceptions surrounding knitting as craft. Her work aims to dispel the idea of knitting being a passive and benign medium.
Her pieces often incorporate elements depicting humor and fear. There is also a display of almost obsessive perfectionism visible in the quality of each piece’s hand-made finish.
Knitted Folk Object – Pocky, 2014, machine knitted wool, reclaimed knitting needles, 700 × 400 × 120 mm. Studio photography: Douglas Atfield
Still Breathing, 2013
machine knitted wool, hand embroidered wool, hand crocheted lurex, coppered nails, sequins, beads, antique faux pearl necklaces, antique crystal necklace on maple wood. Studio photography: Douglas Atfield.
Freddie Robins has work in private and public collections including the Victoria and Albert Museum, Nottingham Castle Museum, Aberdeen Art Gallery and Museum and KODE – kunstmuseene i Bergen. She is exhibited internationally, including most recently at COLLECT at the Saatchi Gallery, London Cheongju International Craft Biennale 2011, Korea, A new Hook. Re- thinking needlework, Museum Bellerive, Zurich, and Art & Fashion. Between Skin and Clothing, Kunstmuseum Wolfsburg, Germany.
Freddie Robins is Senior Tutor and Reader in Textiles at the Royal College of Art, London.
-- Andrée Cooke, Curator, 2013
SOURCE: Artist website.
Interview with the artist on Textileartist.org.