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Rob Branigan's portrait

A confrontation with something unknown is often met with the application of logic and knowledge - relying on the systems in our lives that we understand, Rob Branigan’s work comes out of an attempt to upset that anticipated rhythm and make us look at those systems in a different light.



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The archetypal object of Rob’s work is that of order, display and classification, such as the shelf or vitrine; one that crosses the boundary between sitting comfortably in a gallery or in a domestic setting. In a text Rob wrote, titled ‘On Voids’, he examined how to define the term ‘voids’ in the context of art - the functional volume of an object, that becomes obsolete once placed in an art space in which that function is removed, and its effect upon its audience. The void can act as a repository for the thoughts and memories of the viewer, bringing them into the fabric of the work. This research was the beginning point of a body of work which continues to have relevance to his practice today



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Rob’s sculpture deals with traditionally important facets of sculpture - proportion, weight, and balance. They tussle with a modernist system of measurement and order, created through abstract nodes of weights and relationships. They disobey their functions and replace these with voids. Falling shelving units and colliding ashtrays remind the viewer of the tactility of sculpture and object, questioning their uses and inventing new ones that defy the viewers conditioning. His sculptures seek to explore the notion of space not only within an object, but within the architecture surrounding it.



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Rob is currently working on a large scale curatorial and sculptural project that is a collaborative insight into the working nature of artist’s studios and the relevance of contemporary relics and sculptural residue involved in their practices.



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