Last week I wrote about girl on a swing by Robin Moore x & y*big; there was also a second work, “in memorial of the lost inocense of the world”, that we discussed briefly in the podcast. Robin has since put another work on display, some will allways survive, that is a slight departure from the technique used in the previous works. This one combines flat layers with prim construction; the flower emerges from the plane of the work into the viewer’s space. Freudians will surely put a phallic reading on this work, with its purple-tipped flower on a curved stem emerging from a dirt-colored (and thus also vaguely skin-colored) base.
The layering of this work rewards careful observation. There is a skeleton in the lower right corner of the piece; the look of it changes radically depending on angle of view. I won’t spoil it by describing the effect further.
In the podcast we speculated about the meaning of the back sides of Robin’s works, with their views of seed pods and vines. (The second photograph above is the back of some will allways survive.) All three pieces on display at BiW have similar reverse sides, though some will allways survive has the addition of the prim stem of the flower poking through. My current theory is that these backs are a form of visual signature that the artist uses to identify his work.
some will allways survive and “in memorial of the lost inocense of the world” are for sale for L$0. If you would like a copy for your personal art collection, come get them now!
Finally, an apology to Robin. In the podcast I believe that I spoke of you as “she” and “her”; I should have practiced due diligence first. Although Robin is almost always a female name on this side of the pond, it is frequently a male name in the UK, and that information is readily available in your profile. Perdóname, por favor.