Jenny Robinson


Jenny Robinson

Jenny Robinson is an Artist originally from London. She studied for her BFA in Printmaking in the United Kingdom and is now living in San Francisco
Jenny was brought up in Borneo in the Far East and went to Art College in the UK where she studied for her BFA in Printmaking.
After University, she backpacked around the world with her sketchbook for a couple of years, before returning to London to continue her art practice and work in the animation and film industry.
She Moved to the States in 2001 and has exhibited widely, both here and in the UK. She has won numerous awards and is a regular visiting Artists at Universities around the country She was recently awarded a Fellowship at the Vermont Studio Center, VT and is a regular Artist in Residence at the Kala Art Institute .
She is represented by the Davidson Gallery in Seattle, Warnock Fine Arts Palm Springs, and The Kala Art Institute Gallery , Berkeley, CA. Her work is in many private and public collections, including the Library of Congress Graphic Arts Collection, Washington DC, The Achenbach Fine Print Collection, Museum of the Fine Arts, San Francisco, The Art Council of Great Britain and the Ashmolean Museum , Oxford UK
Recent Exhibitions have included ‘Under Pressure’ at the Rochester Contemporary Art Center NY,
The International Print Biennale, Newcastle UK, International Print Center NYC and One Woman shows at Flatbed Press, Austin and Zarrow Contemporary Art, University of Tulsa, Ok,
She is a Passionate exponent of Printmaking and its place in the Art world .
She is a member of the Royal Society of Painter Printmakers (RE), London, Boston Printmakers and the Los Angeles Printmaking Society (LAPS)


My studio in San Francisco is based in an area of postindustrial decline, populated by architecture that is on the periphery of people’s vision, hidden either by design or by obsolescence, abandoned and forgotten.
My work has always been informed by my immediate environment – where I live, work and go has a direct impact on the subject matter I am drawn to. After moving from London to San Francisco in 2001, I became fascinated by structures displaying a sense of strength and energy, but ignored, threatened by the passage of time to ultimate defeat by corrosion and decay. My work is concerned with depicting how these giant structures appear, not through a sense of romantic yearning for the past, but by responding to location and documenting how they appear to me, now, in the moment.
As an artist who works primarily on paper, Printmaking is the perfect vehicle for me to explore these themes of atmosphere and corrosion. The Monoprint process enables me to create images that are drenched and heavy with dark ink. I use deeply saturated colors and textures not only to reveal the surfaces of the structures but also to permeate the emptiness around them. The physical nature of, and energy involved in making large format Monoprints imbues the work with the frank monumentality of its subject matter. Each step of the process, from drawing the image onto the plate, scouring and gouging, inking, and finally, wiping the surface for printing, suffuses the final print with a textural, tactile, physical quality difficult to achieve in other media, creating the perfect balance of color, texture and line.
Drawing is a crucial and integral part of my practice and I always carry a sketchbook, making quick pen and ink sketches or swift watercolor studies of my subject matter. This direct engagement enables me to emphasize the essence of the moment both physically and intellectually. Making use of the sketches when I make my prints allows me to stay true to that initial response, the gut feeling I experienced when I made my initial drawings. Only in that way can I hope to stay true to the emotional reaction of that specific time and place.