Biography
Robin Dintiman’s work is characterized by a deep connection to nature. Whether she is working directly with objects found in nature or taking nature as her subject, Dintiman strives to capture the intimate, emotional quality of certain natural settings, suffused as they are with time, change, and personal memory.
Dintiman has taught at California College of Arts as well as other CA colleges, Renaissance Arts School and the San Francisco Arts Foundation; she served on the faculty at the Manhattan Graphics Center as well as worked with many printshop in the Northeast. She was invited to submit to a collaborative PhD program at Sheiffield Hallam University “Lab 4 Living” Art Science Program, pending return to normal health situation in the UK. Dintiman was nominated for a Fleishhacker 2019. She has received residencies from the Yaddo Corporation, Dorland’s Mountain Colony, Haystack School, Cooper Union, Millay, Two Cents Press, and most recently V.C.C.A. She was awarded the the P.B. Widner Traveling Fellowship, then planned study in Japan and a California Arts Council Grant for teaching. Recently she was awarded the Puffin Foundation Grant for eco-friendly material development. Dintiman’s work—including sculptures, prints, drawings, collages, photography and installation —have been exhibited in venues such as ICPNY, Christy’s Midtown, museums and many venues across the country as well as abroad. Her works are included in permanent collections of the Philadelphia Art Museum, the National Museum for Women in the Arts, the Chrysler Museum, The Arkansas Museum of Art, Grace Cathedral San Francisco and Toyobo Senior Center, Osaka. She is a member of A.I.R. in Brooklyn, NY and W.E.A.D., Oakland,CA. Represented by Calabi Gallery in Santa Rosa, CA.
Artist Statement:
This natural environment is our home. The pace of it is slow, enduring, allowing space for vulnerability. Vulnerability and the intimacy created by this grace of space is our human condition.
All my work has an intimate focus on our most complex of syntax, that of dying things, intricately explored through nature and personal experience. This process immediately extends my experience to connection with others. We feel it. Then it connects us to archetypal “Eros”: the life force felt in our bodies that embraces the uncanny and the inexplicable. Creative visual memory reconstructs our lives and greatly enriches our understanding of our human condition of connection to all beings. Visual poetic nourishment sustains our vulnerability.
My camera is a sketchbook: a daily journaling of glimpses, barely audible sights not just articulate to consciousness. Rather, a flow of preconscious suggestions to inform with meaning at a later date.
Objects found in my path become curious with memory when worked into my process. The intense physicality in nature; the shear will of its materials; a material will is what is most riveting. Working processes of building, sewing, wrapping, gluing, modeling, cutting and growing I seek this “integration of process with my feeling state”. The intimacy of vulnerabilities the connection to a feeling state, our human condition becomes articulated.