In recent years Robinson has consistently investigated both the material and metaphoric potential of felt as a medium. Robinson’s stick forms evoke a dizzying flood of references: strands of DNA, architecture, and lines of disintegrating binary code. The work suggests a kind of transmutation where materials are stretched, extended, layered, or compressed beyond their usual parameters. The physical structure of felt, formed by pressing fibres together, also echoes a conceptual compression; this new body of work sees many of Robinson’s familiar concerns compounded into Hieroglyphic form.
In Die Cuts & Derivations, the unavoidable art historical associations of felt join the cacophony of influences that play out in individual art works. Robinson proposes art history as an open language, always adapting and adaptable, and with its own twisting web of cause and effect. Questions of language and communication are here traced earlier than Modernism. Robinson’s forms could equally be read through the reductive forms of indigenous artifacts, locally via Maori Taonga or further afield with the Nazca Lines; the ancient giant geoglyphs located in the Nazca desert of southern Peru. Nature’s systems – diagrams of structure, growth, evolution, distribution – provide yet another layer of visual reference.