Assistant Professor of Art
Raewyn Martyn, visiting assistant professor of visual arts, grew up in the South Island of New Zealand and has a BFA Hons from Massey University School of Fine Arts in Wellington, New Zealand, and an MFA in Painting and Printmaking from VCUArts in Richmond, Virginia. Martyn has exhibited at Dunedin Public Art Gallery (NZ), City Gallery Wellington (NZ), RAMP Gallery in Waikato (NZ), Whitebox in NYC, 1708 Gallery in Richmond VA. Upcoming projects include work for a group show at The Physics Room in Christchurch (NZ), and collaboration with Sara Black and students from Antioch College and School of the Art Institute in Chicago, for the Whole House Reuse project in Christchurch, New Zealand in 2015.
Martyn makes site responsive paintings that are composed during attentive occupation of a particular space. In Martyn’s peeled works, paint and surface become unstuck and material. This transformation changes the perceived stability, boundaries, and interactions of architectural surface and space. These changes often result in entropic reordering, and at other times a resistance of gravity and the emergence of new image and structure. Each work cycles through disruption and reconfiguration in their surface. The paintings change over time, and develop their own ecosystem of adaptive image, surface, and structure.
In 2014, Martyn was a visiting artist in collaboration with Sara Black at ACRE Residency in Wisconsin where they facilitated a workshop called Attention Feeder (Surviving the Anthropocene). Following on from this, they developed In Formation at Harper College Illinois. In Formation used individual and shared processes of building and painting to create emergent surfaces and structures within the gallery architecture. Undertaking a series of mutual provocations, they began by “skinning the room” with both plywood and paint. During a series of workdays, further provocations and actions responded to the unfolding conditions. They set out to use these activities to practice adapting; mindfully negotiating and understanding our own processes of human made endeavor. At this moment in time, we are realizing that it is increasingly necessary for humans to revise reality in radical ways that recognize the interrelated conditions and materials of our always-changing world. These revisions allow us to adapt to our changing conditions that are the result of the human-made geologic era. Martyn and Black are interested in how art making processes are often practices of mindful adaptation; that, although privileged, are also transferable and already connected to real human time and experience. http://www.walkerfalls.wordpress.com