<p>amy pickles is an artist and loosely formed educator. In her work, she experiments with ways to hold onto, and consider, pervasive colonial infrastructures we are a part of. In our work, redistribution - of knowledge, tools, finances - and collaboration are ways to refuse individual ownership. Recent collective organising includes the co-curation of ‘On Coloniality’, a pedagogical programme for a.pass, and assisting the reading group That Might be Right, both based in Brussels, BE. She co-facilitates the workshop series Performance Lab and Read & Repair in Varia, a collective of which she is a part of. She teaches at the Willem de Kooning Academy in Autonomous Practices, and recently collaboratively made a film about beekeeping in a shared studio garden in Rotterdam West.</p>
<p>Leslie Robbins’ passion for art in public space has manifested itself in a number of ways: as assistant to artists like Michael Davis or, in collaboration with Julia Klemek, making six large scale clay sculptures along the LA & Orange Counties coastal city parks. Prior to moving to Rotterdam, she lived and worked in (West) Berlin where she did her Meisterschuler.</p>
<p>In Rotterdam she shared an office in the Rotterdam City Hall with an open door policy to ‘artists’ initiatives’ during its year long reign as Cultural Capital of Europe (2001).</p>
<p>Since assuming her post at the Piet Zwart Institute in April 2003 her drive to bring art to the general public has moved into the nurturing of students whose careers are ahead of them. It has also afforded her the opportunity to sideline the art world, floating in and out as she wishes, allowing her to concentrate on her tangible archives.</p>
<p>amy pickles is an artist and loosely formed educator. In her work, she experiments with ways to hold onto, and consider, pervasive colonial infrastructures we are a part of. In our work, redistribution - of knowledge, tools, finances - and collaboration are ways to refuse individual ownership. Recent collective organising includes the co-curation of ‘On Coloniality’, a pedagogical programme for a.pass, and assisting the reading group That Might be Right, both based in Brussels, BE. She co-facilitates the workshop series Performance Lab and Read & Repair in Varia, a collective of which she is a part of. She teaches at the Willem de Kooning Academy in Autonomous Practices, and recently collaboratively made a film about beekeeping in a shared studio garden in Rotterdam West.</p>
<p>Leslie Robbins’ passion for art in public space has manifested itself in a number of ways: as assistant to artists like Michael Davis or, in collaboration with Julia Klemek, making six large scale clay sculptures along the LA & Orange Counties coastal city parks. Prior to moving to Rotterdam, she lived and worked in (West) Berlin where she did her Meisterschuler.</p>
<p>In Rotterdam she shared an office in the Rotterdam City Hall with an open door policy to ‘artists’ initiatives’ during its year long reign as Cultural Capital of Europe (2001).</p>
<p>Since assuming her post at the Piet Zwart Institute in April 2003 her drive to bring art to the general public has moved into the nurturing of students whose careers are ahead of them. It has also afforded her the opportunity to sideline the art world, floating in and out as she wishes, allowing her to concentrate on her tangible archives.</p>
Leslie Robbins’ passion for art in public space has manifested itself in a number of ways: as assistant to artists like Michael Davis or, in collaboration with Julia Klemek, making six large scale clay sculptures along the LA & Orange Counties coastal city parks. Prior to moving to Rotterdam, she lived and worked in (West) Berlin where she did her Meisterschuler.
In Rotterdam she shared an office in the Rotterdam City Hall with an open door policy to ‘artists’ initiatives’ during its year long reign as Cultural Capital of Europe (2001).
Since assuming her post at the Piet Zwart Institute in April 2003 her drive to bring art to the general public has moved into the nurturing of students whose careers are ahead of them. It has also afforded her the opportunity to sideline the art world, floating in and out as she wishes, allowing her to concentrate on her tangible archives.
