Title: Super Guerrilla Knitters
Dimensions: width: 29,7cm, height: 21cm, depth: 4cm
Born in Belfast in 1964, Deirdre Robb was educated at the University of Ulster (BA Fine and Applied Art) before completing her Masters in 2001. She is an award-winning contemporary artist whose studio practice has a multi-disciplinary approach including installation art, collage, painting and sculpture. Her work is conceptually based which comments on political and cultural events. Since 1999 her artworks have been widely exhibited with shows in Ireland, UK, Italy, Holland, Germany, USA and Australia. Robbs has been awarded residencies in Louisville, Artopia & The Water Tower, Padua, Katoomba and Tyrone Guthrie. Robb is a founder member and former Chairperson of Creative Exchange Artist Studios where she remains a resident artist. She is a former Director of The Engine Room Gallery & the Hedge Gallery in Belfast. She is a member of the National Collage Society and the International Society of Collage artists.
Robb’s practice examines global political issues layered with personal narratives. ‘Super Guerilla Knitters’ is taken from a series of Robb’s most recent work ‘My Superhero’s’ that identifies and highlights the female role throughout the 21st Century. Through an exchange model of gathering information and ideas, she cleverly juxtaposes found images and incorporates them with social commentary and symbolic icons. Robb’s vision is to engage people in dialogue and by doing so stimulating thought. Her work encourages people to question, to create their own stories and by drawing their own conclusions ultimately leading the observer to a place of responsibility.
‘Super Guerilla Knitters’ was inspired by infamous ‘Pussy Riot’, a Russian feminist punk-rock protest group. With her work Robb aims to acknowledge their campaign, supports their creativity and reaffirms their determination and passion. As a native of Belfast, Robb combines these themes with a response to local politics, representing terrorism, ‘The troubles” and the on-going disaffected ‘Peace Process’. She makes commentary on the historical and current use of balaclavas, local protests, freedom of expression and the limitations of women’s position in the politics of Northern Ireland.