Both still life images began as digital models- virtual sculptures built in 3d software.

The objects in Atavism are hypothetical - compound objects that take cues from historical still lifes, cook books that I found at my grandma's house, old toys and kitschy ornaments - familiar things rearranged in the weird, synthetic and intoxicating digital space.

The still life in ‘endless weather’ has a direct connection to the earliest still life paintings - the trompe l'oeil niche was common in Roman frescos and made its way into later Dutch and Spanish painting. The candle, egg, cherry are typical still life objects, once symbolically weighted but now stand-ins for still life painting; markers of tradition that have been shifted into the supernormal digital space and then back to the bluntness of painting. Endless weather refers to progress - what changes and what doesn't change.

A portrait of Robin Megannity in his studio by John-Paul Brown

Robin Megannity

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Robin Megannity