;

Line Drawing after

the painting, Valle
of Her Sacire ee
42" & 54 acrylic,
enamel on canvas

are almost too evident here, with a lack of resisting ingredients
which would create the tensions needed for successful abstraction.

Interdispersed ts evidence of wry humour and wit which brings
out a new dimension of the artist. The Maintenance Free red and
black boxes, and the kitsch icon of Harrison's Stay are easy jokes.
Less easy is the Morning Mist collage with its plastic zebra. Through
his paintings, Robert shows a seductive delight in the range and
power of his paint and the sensuous luxury of materials. The collage,
She's Going To, of coloured tissue, paint stains, gold thread and

bright, dainty feathers demonstrates this fascination with an
uncharacteristic formal detachment. One may wonder whether this
work behind glass comes from a sincere and delighted acceptance
of luxurious material, or whetler it exemplies an ironic wit which
acknowledges and points to his own involvement with this luxury
side of creativity.

Robert's show presents a range of experiments in paint, imagery,
and ideas. The variety and juxtopositions communicate to the view-
er through a breadth of visual aesthetic, erotic, and humourous
concern, this being both a unique and somewhat difficult changéng
of pace and focus. The vitality of his pictures' baroque, aesthetic
and erotic hedonism is strongly felt. But this hedonism cannot
but bring to question an existential pessimism which may underlie
it. If it is true that ‘forced feelings' in paint make for inadequat
art, many of the works may falter; On the other hand, if it is true
that vibrant and passionate work cuts quick and true, this art
succeeds. If 'hedonism' is appropriate here, it is a hedonism
which flies, with colour, in the face of existential despair, and
with a marked courage to be. At Helen Pitt till end of week.