Emilee Robinson (b. 2000) is an expanded printmedia artist, living and working on unceded Gadigal land.
Emilee’s practice explores the psychic architecture of memory - its unreliability, fragility, and capacity to blur the line between past and present.
Informed by post-Freudian and anthropological frameworks, her process operates as a form of self-archeology, one that attempts to preserve and revive a past self that has been lost to the inevitable force of time. Emilee’s work engages with childhood as both material and metaphor: a temporal realm often idealised, curated, and mourned. With the alchemy of the contemporary print studio, she investigates what it means to return to this imagined place through the mnemonic device. A childhood toy, image, or fragment functions not only as a passive souvenir, but a portal to a subconscious, remembered space.
Emilee’s process is grounded in embalming these fragmented archives - casting objects in silicone, distorting video footage, and chemically transferring images onto fabric. The resulting works exist in a state of suspension - partially lost and eroded by time, partially preserved. Here, personal memory, nostalgia, and attachment intersect with a desperate attempt to revive a past self. The resulting oeuvre details a sanctuary built from fragments, longing, and loss.
I acknowledge the Gadigal people of the Eora Nation, on whose land I work, and pay my respects to their culture and continued connection to land and community. I extend that respect to Elders both past, present and emerging. Sovereignty was never ceded - always was, always will be, Aboriginal land.
Emilee’s practice explores the psychic architecture of memory - its unreliability, fragility, and capacity to blur the line between past and present.
Informed by post-Freudian and anthropological frameworks, her process operates as a form of self-archeology, one that attempts to preserve and revive a past self that has been lost to the inevitable force of time. Emilee’s work engages with childhood as both material and metaphor: a temporal realm often idealised, curated, and mourned. With the alchemy of the contemporary print studio, she investigates what it means to return to this imagined place through the mnemonic device. A childhood toy, image, or fragment functions not only as a passive souvenir, but a portal to a subconscious, remembered space.
Emilee’s process is grounded in embalming these fragmented archives - casting objects in silicone, distorting video footage, and chemically transferring images onto fabric. The resulting works exist in a state of suspension - partially lost and eroded by time, partially preserved. Here, personal memory, nostalgia, and attachment intersect with a desperate attempt to revive a past self. The resulting oeuvre details a sanctuary built from fragments, longing, and loss.
I acknowledge the Gadigal people of the Eora Nation, on whose land I work, and pay my respects to their culture and continued connection to land and community. I extend that respect to Elders both past, present and emerging. Sovereignty was never ceded - always was, always will be, Aboriginal land.