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Art is True North

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Warbling

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INTERVIEW — Robyn Graham clears space for quiet art

Words by Alysha Rocca | Photography courtesy of Warbling

ISSUE 14 | LONDON | SPACES

The juxtaposition of building a platform loud enough to make a statement, but gentle enough to house the power of quiet things, is the playground of the artist-run curatorial project Warbling. Curated by visual artist Robyn Graham—and housed in a small gallery at the eastern edge of London’s Soho district—the project began as an Instagram account where Graham tessellated artworks that were “distinctly soft”. In a visual arts ecosystem often dominated by the gimmickry of bold, urgent, and aggressively conspicuous gestures, Graham’s gentle eye for the understated is a frustrating anomaly. Frustrating for the industry hype-beasts, but therapeutic for the similarly inclined.



What makes a piece of art soft or quiet? Warbling’s philosophy of presentation seems to suggest that the environment of an exhibit is as important as any formal component that contributes to the volume of an artwork. There’s a vital need for softness in the contemporary art scene, one that values introspection, nuance, and an intimate experience of art. Graham’s work with Warbling is meeting this need.

CANNOPY x Warbling

CAN | In your view, what makes an artwork feel quiet as opposed to loud?

RB ─ Pinpointing that essence is tricky, but the word vulnerability may come close. There’s a sense that the artist has laid themselves bare within the artwork. The difference between a subtle artwork and a vibrant one, I believe, is akin to the strength required to listen, pause, and reflect in the moment rather than reacting hastily, perhaps defensively. It is this vulnerability that allows the viewer to connect with the artwork, as they too must approach it with an open mind and heart to receive the messages being conveyed.



CAN | Your latest exhibit, At Last It Came Into Focus, showcased a remarkable diversity of work, ranging from sculptures and paintings to installations and drawings. From a curatorial perspective, how do you approach achieving diversity among artists, the different forms of softness in their work, and the demographic accessibility of your gallery spaces? 


RB ─ Warbling is held up by the community which sends their artworks in response to the open call. Although I piece it together carefully, ultimately, it is the artists who decide how the exhibition is formed and the voices which are being heard. Curatorial decisions have largely come from a place of inclusivity, there is also anonymity to submitting your work to an open call. You do not need to be based in a large city or have a studio to have your work included in an international group exhibition in London, we are supporting each other and making it happen for ourselves.



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