Robin Seir.

My recent paintings draw from the formal language of logotypes, typography, signage, iconography and political & religious symbols.

9 Questions to Robin Seir. 

Swedish artist, living and working in London, UK.


What is your art about?

My recent paintings draw from the formal language of logotypes, typography, signage, iconography and political & religious symbols, together with their shared purpose of explicit communication. I’m attracted by the formality of these agents, their highly stylized qualities, and by the fact that they tend to operate on several levels simultaneously. I guess I’m interested in exposing the purely visual aspects of these cognitive agents, to heighten the aesthetic characteristics of these otherwise content based symbols – to juxtapose form and content.

Please tell us more about your working process, routine, your studio set up and the way you approach new artworks.

I’m quite routine based in my practice and don’t like interruptions. I work between 11 am to 6 pm, 6 to 7 days a week with a swim at the end of most days. I’ve always kept my studio tidy. The studio is a space where I can shut out the visual noise that comes with this world and have a one-to-one with my work.

What is fertiliser for your work?

It’s hard to tell. I try not to make a distinction between so called research and free time. Ultimately, my work is about aesthetics and how aesthetics operate autonomously, associatively, referentially and cognitively. It’s problematic to draw a line between these areas.

Who or what has recently impressed you?

Haim Steinbach’s solo show a few years back at White Cube Mason’s Yard here in London really hit me. He just has a great sense of presenting, combining and juxtaposing highly familiar objects belonging to this world, yet with an intense feel of alienation.

Have a beer with an artist of your choice? Whom?

Whoever made that very first image known to man in the Cave of Pettakere, Bantimurung district in South Sulawesi, Indonesia. Estimated between 35,000-40,000 years before present. It’s easy to forget the image is roughly speaking about 10 times older than the written word. Writing itself is sprung out of image making.

What’s your favourite city and why?

Osaka made a strong impression on me. Japan is just a different planet which enables you to completely step out of your own culture’s visual vocabulary and see things, visually, as they are. The fact you can’t access content at all as a westerner makes Japan a purely aesthetic experience. I try to go regularly as I’ve noticed it directs my practice down a good route. Yokohama and Kobe are cool too, with their post-modern architecture.

What’s your favourite restaurant and why?

No restaurant beats my gran’s meatballs served with king edward potatoes and her very special cauliflower stew. Soft as silk. Always ready for my arrival!

What would you do with five euro found in the streets?

Buy that poor caveman another drink.

Do you have any dream projects in mind that you would like to do in the future? 

Nah I just take things as they come.


Acrylic on canvas, 40 x 30 cm, 2017







Robin Seir

All images © Robin Seir, Ralph Brealey and David Stjernholm

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