Artist’s Talk – Robin L. Bernstein: Hope Dies Last

All are welcome! Learn more about the processes, themes and methods in Robin Bernstein’s work, from the selection of imagery and color, to the detailed research and discovery that goes into each piece.

This event is free and open to the public with free street parking nearby. Plan to arrive a few minutes early, the talk will start at 4 pm.

Transmission Gallery is pleased to present Hope Dies Last, a solo exhibition of sumptuous fiber-based works by Robin L. Bernstein addressing complex and challenging subjects.

In the immediate encounter, the work is beautiful with dynamic cut shapes and enticing color inviting the viewer in. At first, they appear to be painted, one can see the swirling line work. Stepping up closer, the elaborate threaded detail becomes evident. Hundreds and hundreds of pieces of thread and string have been pressed into wax creating a mesmerizing and tactile effect. This visual feast reverberates with our senses, reflecting the intimacy of the endeavor. The richness of color evokes a sense of warmth and vitality, contrasting with the heavy themes the works address for indeed there is a message imbedded in each piece, a troubling truth we might rather not know too deeply, but now it is at hand.

While developing each composition, Bernstein researches her subject extensively, thoughtfully considering and selecting the symbolism layered throughout the work. Shaped panels provide a framework to carry the concept. Colors and forms may reference historical suffering, specific incidents or fundamental principles. While some pieces in the exhibition specifically call out the insidious subtexts of white supremacy and fascism masquerading as more benign movements, others speak directly, painfully even, to the perils impending along the gamut of human endeavor. Rather than meet the future with denial, the work calls for recognition of those potentialities and, despite the looming threats, richly colored elements may be seen as rays of hope, inviting a personal commitment to consciously educate ourselves, and move forward in even small everyday actions, collectively making new decisions for a healthy and just society and planet.

Works in the exhibition include “Defense of Nature,” which addresses ideas of environmentalism, a cause so many rally around today as the specter of climate change hangs on the horizon. One might not be aware of the underpinnings of white supremacy driving early ecological movements. It can be easy to align with the noble goal of preserving nature, without realizing some groups pin their ideology on white dominion over the earth. “L’Dor V’Dor, From Generation to Generation” likewise calls out the numerical signifiers of antisemitism and racism, coded symbols readily recognized by members of certain white supremacist organizations actively preparing to assume greater power on the world stage. Another recent work, François Genoud: From the Holocaust to Hamas, references the money trail, built through the efforts of Nazi-era financial wizard, François Genoud, to the early funding of anti-Semitic terrorist organizations. Doves of peace swirl above, never able to land.

With the word “Hopieum” emblazoned across a baby caught in the balance, Bernstein’s Hope Dies Last is perhaps the key to everything. Referring to the powerful human desire for hope in the face of all logic it can be read as ridiculous in its hope, nevertheless it is hope that soars above a laundry list of despair; unhoused, uneducated, impoverished, indifferent and hungry, the state of so many across the world. Observant and uplifted, another babe hovers, buoyantly gazing our way; principled, compassionate, courageous and loving. Which will it be?