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Artist Statement
Robin Sullivan (b. 1992) is a queer, neurodiverse, and mentally disabled artist, producer, and facilitator whose multifaceted practice navigates the rich intersections of landscapes, histories, and communities. Rooted in a deep engagement with the (pre)historic British Isles, their work seeks to uncover and celebrate the intricate relationships between humans and their environments. Central to Sullivan’s inquiry is the notion that landscapes are not merely passive backdrops but active participants in shaping collective memory, identity, and culture.
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Using materials such as clay, glaze, and stone, Sullivan reinterprets ancient practices to craft sculptures, performances, public programmes, and temporary art spaces that invite audiences to rethink their relationships with the land. Drawing inspiration from Neolithic and Bronze Age sites, they view these early human interventions as profound intellectual and artistic achievements. Sullivan’s projects move through time and space, weaving together the past, present, and future into a single, spiraling narrative that fosters reflection and connection.
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A critical and defining element of Sullivan’s practice is their lived experience with bipolar disorder, which profoundly influences the rhythm and nature of their creative process. This condition brings a duality to their work, oscillating between meticulous, research-driven inquiry and bursts of creative spontaneity. Sullivan likens this interplay to the landscapes they study—simultaneously ordered and chaotic, structured yet untamed. For them, the act of creation is both a dialogue with history and a surrender to the unknown, as they embrace moments of unpredictability where the planned and the improvised meet.
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Collaboration lies at the heart of Sullivan’s artistic philosophy. They believe art is inherently communal and reject the notion of a one-way conversation between artist and audience. Whether through performative ceramic firings, shared meals, or guided field trips, Sullivan creates spaces where individuals can come together, exchange ideas, and contribute to a living network of dialogue and exploration. These moments of connection—be it a spontaneous comment during a field trip or the collective anticipation of a kiln opening—are as integral to the work as the objects and installations themselves.
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Sullivan’s projects also delve deeply into materiality and storytelling, treating materials as carriers of history and memory. By incorporating elements such as Gabbroic clay or materials tied to specific sites, they imbue their works with a tangible connection to the places and narratives they explore. Through this approach, their practice becomes a means of reimagining landscapes as spaces of learning, transformation, and celebration.
Ultimately, Sullivan’s work is an invitation: to step into the spiral of time, to traverse the landscapes of the mind and the land, and to see the world anew. Their art is a call to reconnect—with each other, with history, and with the environments that have shaped humanity for millennia.
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Biography
Robin Sullivan (b. 1992) is a socially engaged artist, producer, and facilitator whose expansive practice spans sculpture, installation, durational projects, performance, and public programmes. Their work is deeply rooted in landscapes, histories, and communities, with a focus on reinterpreting ancient practices and engaging local voices to create transformative artistic experiences. Over the past decade, Sullivan has collaborated with renowned organisations such as English Heritage, Arts Council England, the Royal College of Art, White Gold International Ceramic Festival, and Cornwall Heritage Trust.
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Their projects are grounded in a rigorous yet dynamic approach, combining deep research with moments of serendipity. Sullivan’s lived experience with bipolar disorder plays a pivotal role in shaping their practice, imbuing their work with a tension between meticulous order and liberating chaos. This duality is reflected in their creative process, which alternates between methodical inquiry and moments of radical spontaneity—where plans are set aside, and the unknown is embraced. For Sullivan, this mirrors the landscapes they explore: ancient yet ever-changing, structured yet wild.
One of Sullivan’s most recent achievements includes a large-scale public sculpture commission in Newquay, Cornwall, funded by Cornwall Council through the Government’s Good Growth Scheme and the Duchy of Cornwall. This project exemplifies their commitment to creating works that engage with both local history and contemporary community narratives.
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Sullivan’s expertise is increasingly sought after on a national scale. They serve as a consultant to English Heritage and West Suffolk Council on the £11.9 million Abbey of St Edmunds project, contributing to the development of an £800,000 engagement programme. Additionally, they advise on heritage projects across the UK and have recently been invited to consult with Creative Kernow on their regional programmes. These roles highlight Sullivan’s ability to bridge art, history, and community engagement.
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Currently supported by Arts Council England through the Developing Your Creative Practice (DYCP) grant, Sullivan is expanding their artistic and administrative capacity by establishing a dedicated team. Under the mentorship of Owen Griffiths, Eva Masterman, and Lucy Elmes, they are refining their vision for creating impactful, community-focused works that blend research, storytelling, and collaboration.
Throughout their career, Sullivan has remained steadfast in their belief that art should foster connection and dialogue. Their works—whether a sculpture inspired by Neolithic craftsmanship, a community workshop exploring clay’s historical significance, or a performative ceramic firing—are all rooted in a desire to bring people together. By exploring the intersections of history, ecology, and community, Sullivan continues to craft works that are as enduring as they are impactful, encouraging audiences to see their world—and their place within it—through a new lens.
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