ACRYLIC, SCREEN PRINT ON WOOD 130X150 CM. / 51X59 IN.
2.UNTITLED VII, MIXED MEDIA ON PAPER 76X96 CM. / 30X37½ IN.
3.RHYTHMIC ARENA, PLASTER, ACRYLIC ON WOOD 152X122 CM. / 60X48 IN.
4.CANOPY, PLASTER, ACRYLIC ON WOOD 170X150 CM. / 67X59 IN.
5.THROW AWAY, ACRYLIC ALUMINUM PAINT WOOD 221X200 CM./ 87X78 IN.
6.UNTITLED III, MIXED MEDIA ON PAPER 42,5X60 CM. / 16½X23½ IN.
ACRYLIC ON WOOD 164X24 CM. / 64½X9½ IN.
8.QUE, PLASTER, ACRYLIC ON WOOD 183X245 CM. / 72X96½ IN.
9.UNTITLED, MIXED MEDIA ON PAPER 42,5X60 CM. / 16½X23½ IN.
10.GLOBAL RHYTHM, ACRYLIC ON WOOD 243X164 CM. / 92X64½ IN.
11.UNTITLED IV, MIXED MEDIA ON PAPER 61X60 CM. / 24X23½ IN.
12.UNTITLED II, MIXED MEDIA ON ALUMINUM PAPER 53X63 CM. /21X25 IN.
Was appointed Lecturer at the Auckland Institute of Technology in
1971. He is now lecturing part-time as Senior lecturer at the
Auckland University of Technology. His work has been exhibited
widely in N.Z. in group shows, one- man shows and is in private
collections. He has exhibited overseas in such places as Sweden,
Italy, Canada, Venice, London, Canada and New York. He has
returned many times to U.K. travelling to South Africa, Israel,
Greece, Italy, Japan, South America, China and Asia. This exposure
to many countries and cultures has been a great influence on his
work, which because it draws from so many sources, has attained a
universal quality. His work does not have that overtly New Zealand
flavour yet Robinson says that although his work does not contain
any familiar N.Z. icons, it still has a New Zealandness about it
that he can recognize as being distinct from Australian and
particularly from British or European art. This he feels t is the
same for most contemporary N.Z. art. The optimism of the
sixties offered Robinson all the encouragement to explore art
rather than just painting pictures or merely being self-expressive
which he feels can be a hindrance to good understanding. This
exploration over the years is manifest in some very inventive
paintings exploring sculptural, spatial and painterly concerns as
well as his use of multi printmaking techniques as work in
themselves and as a form of inspiration for paintings. Looking at
Robinson’s work over the years one can see cases where he seems to
have isolated aspects to explore over a period of time then
changes direction to explore what could be seen as an opposite
direction. A few years later he produced paintings that combine
the two different poles into work, which now would have those
conflicting emotions within the same work but working dynamically
to form a satisfactory sense of order. The basic structure
of his work is intellectual but the paintings have a unique
balance of intuition and intellect that stops them from being too
predictable. Even in the earlier “Drop Series” work that on the
surface seem pre-planned they are infact a result of intuitive
decisions made as the work developed. In effect, he addresses the
issue; can merely the sum of form, colour, and design give the
work integrity of its own, and provide value and relevance for the
viewer. For Robinson, communication implies that one has something
to say and wants to communicate that understanding to others but
he does not use this in his work. He grapples with the problem of
making abstract work that is more than simply decorative and yet
does not have an explicit metaphorical quality. He uses the word
communion that demands the full participation of the viewer and
total commitment from the artist. A product of inner intensity,
the work makes no attempt to woo the fashion conscious. For him
radicalism usually means just being Avante –Guard, which in fact
is just an attitude representing the status quo. He gives each
work a personality that is much more than its basic qualities of
shape and colour. Robinson’s command of the variety of techniques
is emphasized by the combination of printing and collage within
the paintings. The wit and experience of the artist shows in the
way he takes a single form and energizes it in ways both elaborate
and simple and in a variety of media. By exposing the accepted
practices of ‘Art’. Robinson finds it necessary to take a step
back and to look at just what art means to the artist and to the
viewer. His working process is to construct and corrupt, removing
the work [and himself] from any literally art historical context.
Although the work might be about time passing he doesn’t want to
be trapped by any time frame.
Ken Robinson is not just an expressive painter he is in fact a
dedicated analyst of form. Moving beyond the action and immediate
expression. Control and intellect and emotive energy remain the
primary ingredients in his art. “I want that sense of order or
controlled effect of all the individual marks and their
relationships with other marks and shapes. It is the sensual
reading of those marks and the overall effect that interest me. I
participate in the creative process simply to understand something
about myself and the world around me.
So exploring the way we see things we can discover something about