Robyn Hendrix creates textured watercolor paintings of whimsical imagery inspired by landscape, nature and biology. She received a Bachelor’s degree in Studio Art from Carleton College in 2005 and has lived in the Twin Cities since 2006. In the past few years her work has branched out into the public sphere, including a life-sized sidewalk chalk board game in the street as well as curation, coordination and production work for community events.
Robyn currently works as an Artist Organizer with the Friendly Streets Initiative and coordinates social media for the Irrigate project. She was a 2013 Intermedia Arts Creative Community Leadership Institute fellow and previously served as a Board Member and Co-Chair of the Exhibitions Committee for the Women’s Art Resources of Minnesota (WARM). Her work is informed by an upbringing in the Palouse region of Eastern Washington, time spent abroad in Ecuador and Australia, a strong environmentalist and feminist sensibility, and a passion for education and community development fueled by extensive work in the fields of childcare and social service. Robyn has extensive experience as a preschool teacher and earned her Child Development Associate (CDA) credential in 2013.
Her paintings and drawings have been included in exhibits at the Northfield Arts Guild, Intermedia Arts, Susan Hensel Gallery, the Katherine G. Nash Gallery, the Phipps Center for the Arts, several WARM member exhibitions, and in a 2011 solo show at the Baroque Room.
Artist's Portrait by Suzanne Shaff.
I create delicate, textured watercolor paintings of whimsical imagery inspired by landscape, nature and biology. My work is informed by an upbringing in the Palouse landscape of Eastern Washington, time spent abroad in Ecuador and Australia, and a passion for education and community development. I work in watercolor painting using synthetic Yupo paper which allows me to manipulate the watercolor after it has dried to create surface texture. The playful, semi-abstract imagery I use is derived mostly from free-association drawing and “doodling” which brings out specific forms that I repeat and re-mutate over and over. These organic “characters” are very plant and nature-inspired (trees, seed pods, stones) but are often interpreted as both microscopic (bacteria, DNA, or neural transmitters) and macroscopic (constellations, galaxies, or nebulae). The addition of more architectural elements hints at my curiosity about the similarities between the things we build, and the things we are built of.