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     Robin Blackwood's lens is focused on freedom and privacy in an age of terrorism. Her post - 9/11 photographic examination of personal accessories in public and private places uses bags, shoes and jewelry to discuss security as we now experience it.

     The intimate stories Blackwood invests in her subjects, especially when juxtaposed against architecture, highlight how we have come to discard our privacy. By either warranted necessity or reckless choice, we now find our deepest feelings unmasked through what she calls ‘the new glass house’ of our collective abandon.

     Blackwood's passion for architecture comes from her grandfather, who studied at Walter Gropius’ Bauhaus and taught architecture at Cooper Union. She values the art of couture as both architecture for the body and as unbridled fantasy, and venerates storytelling. One image reveals a portrait of her great, great, great, great, great-grandmother sporting a pixie haircut and the cross woven from her newly cropped hair - a fashion statement that was perhaps as strong a symbol of youth culture in Napoleonic Europe as tattoos are today.

     Blackwood is also an environmentalist whose earthwork sculptures won her a John Bard Scholarship and who is building a digital collection entitled 'Where Does The Earth Go When Nobody Wants It?' that documents online postings for free pick-up and delivery of expendable earth. She is a maximum grant recipient from the Adolph and Esther Gottlieb Foundation for ‘Hooks,’ a watercolour series illustrating pop songs, and has received honourable mention in Ad Age magazine for accessory design.

     Robin Blackwood studied art at the Museum of Modern Art Youth Program, The NY Studio School, Vassar and Bard. Group exhibits include Cognac, France and Washington, D.C., and solo exhibits include Éspace Didier Daurat in Malaga, Spain in 2008 and Splashlight Gallery in Manhattan in 2013.