Robyn Wheeler’s art practice is informed and inspired by the natural world in all its diverse structures and textures, drawing correlations between form and line to embody ideas of the synergistic interconnections between lifeforms throughout nature. The enmeshed relationship between humans and nature is fractured and sometimes completely disregarded in this Anthropocene era, due to the belief that humans are superior to all other lifeforms. Conceptualising evolved lifeforms in the context of a post-human environment plays a part in Wheeler’s practice, which evokes a new consciousness of the current environmental crisis. The use of eco-conscious, organic material is also prominent within the practice. Much of the influence for her forms comes from extensive research into micro-organisms and fungi, and through the exploratory manipulation of clay; she is then open to what may re-emerge. Biologist and writer Merlin Sheldrake states, "Most fungi live out of sight, yet make up a massively diverse kingdom of organisms that support and sustain nearly all living systems". Like the mycorrhizal networks making subterranean, symbiotic connections between trees and fungi, there are 'threads of connectivity' throughout her multi-media practice, with interests in mycology inspiring artworks of various media. She uses her own naming of artworks to reflect the scientific taxonomy of mushrooms.

 

She deviates from the traditional means of hanging painting, to express elements of Anthropocentric decline and decay: frayed edges, no stretchers/frames, and almost primally nailing the painting to the wall, making allowances for the creation of drapes and folds. Her ceramic work also possesses a certain tension in how it is made; she physically moulds the clay in her hands but adds pressure, contorting the clay to form concavities, lines and dips. These forms feed back into her paintings and other media, which in turn inform other works.

 

Instagram: @birdies_artbox