(for catalogs of previous projects of art
minitures show group exhibition
at my studio port chalmers
opening 7th dec
with music by
"the ladder is part of the pit"
improvised acoustic /noise ensomble duendin.
a open call community based show where by i host a body of minitures from artists nationwide in my hall/studio.
mid febuary 2014
a selection of banner works about the ocean and "energy and consciousness" series.
january a selection of paper works with cleverbastards.co.nz
auckland based online art gallery.
" savvy urban hunting for the digital precariat"
and i am perpetually showing at the port chalmers launderette
open 24 hours
george st port chalmers
this video of the installed RAINBOW SEPRENT (psychic skins) at eastern southland gallery gore.
with jim geddes.curater
and a floor talk to that work
a homage to indiginous peoples under globalisation/colonisation ....(continued in writeing section)
various videos in my youtube channel -james robinson-
for example a poem david eggleton wrote for my art read by david here http://youtu.be/MIs9zqkOzXI (text of poem at bottom of page under cv)
specific videos are linked under images in painting section of this site
this is a animation film that toured the world in short film festivals with blackwater pictures
constantly evolveing ARTIST STATEMENT
im a explorative multi disciplinary artist
often called expressionist or maximalist
art that is process driven..thatis to say..adaptive improvised .. and internally evolutionary...volatile and changeable..as the consciousness of human culture itself is at this time ...
explorer of the subject of our humanity and times of transformation
with a bias towards indiginous sentiment in my art as relic of conenction of self to planet meaning and spirit -also of cosmos and ancester .
and specificly as a new zealand painter ..of the pacific..and the legacy of the first peoples from here .
however the contemporary and mixed media approaches i have to subject ..is compleatly my own individuated cross referenced free form language makeing in no way formal work in any sence to anyones "culture"
the language i am makeing in painting is something more like a glossellelia of nervious system expression...
some syneisthesisc dramaticised projection of disgorged ideological fragmentation from a array of perceptual attitudes..around in our informational saturated globalised similtainiously expanding and collapseing culture.
the work then is a gestalt..around any fixed perception perspective and attitude..superceeding the mind even to a space that ...attempts to convey the transcendant at best.
i liken the process the works make to music in this way..
syneisthesicly..a cross over of sences..a right brain function of intuition and knowing.
i think it is important work in our age of mind
to see and feel what the body knows from a right brain intutive knowing that connects the micro self whole system to the macro whole system of nature universe and human culture in that frame .
I MAKE REALY INTERESTING AND OFTEN CHALLANGEING FUN EXCITEING TOPICAL PAINTINGS THAT ARE RAW AND PERSONAL AND INVENTIVE AND THOUGHTPROVOCEING.AND AM CONSTANTLY EXPLORIENG HOW TO DO THIS IN DIFFERENT WAYS. FOR DIFFERNENT SITUATIONS.
WITH CORE CONCERNS AROUND SURVIVAL catastrophie ..the human condition AND GROWTH SPIRITUALITY AND MEANING
I show and make across a broad social platform
examples are in links under images in the painting section (in the form of you tube videos)
comments and dialog please email
at eastern southland gallery
gore opening august 16th (with poetry by me and music by stephen killroy)
RAINBOW SERPENT (psychic skins)
in a re installation in the large curved room of the multipaneled fractal mural about shifting consciousness and human aboriginal values in our bright new technological age
free catalog here
painting process installation and sound art collaberation in studio at willaim hodges residency invercargill with southern institute of technology music composition student ANDREW FRASER (sound)in responce to -JAMES ROBINSON (visuals)
with improvised painting and spoken word collaberations
sept 19th thursday 2013 (full moon)
i am honoured to be th william hodges fellow
southland art residency
work held with
sanderson contemporary art
122 Jervois Road, Auckland, NZ
+64 9 378 9298
41 derby st
Mark Hutchins gallery wellington (north island)
and papergraphica in christchurch (south island)
also work held in stock various gallerys and institutions public an private collections nationally (nz)
2000: Bachelor of Fine Arts, Otago School of Fine Arts (Painting major)
1996: Diploma in Art and Craft, Hungry Creek School of Art and Craft
1990: Foundation in Fine Art, Nelson Polytechnic
2007 Paramount Winner of the Wallace Art Awards
2006 Selected for National Portrait Award
2004 Finalist for the Wallace Art Awards
2003 Finalist NCC Art Awards for Reclaimed Materials
2003/02/00 Finalist for the Wallace Art Awards
2008 July - Dec: Tylee Cottage Residency, Whanganui, New Zealand
Jan - June: International Studio and Curatorial Programme,
New York, USA,
2007 July – Sept: McCahon Art Residency, Titirangi, New Zealand
Selected International Exhibitions
2009 International Outsider Art Fair & Fountain Art Fair, New York, USA
2006 ****bluetenweiss anonymous drawing project, Berlin, Germany
Camden Gallery, London, United Kingdom (group show)
2003 Newcontemporaries Gallery, Sydney, Australia (solo show)
2002 Stephen McLaughlan Gallery, Melbourne, Australia (solo show)
Selected Solo Exhibitions in New Zealand Regional Public Galleries
2009 The Light, Sarjeant Gallery, Whanganui, The Light,
07-08 Ghost Guest, Lopdell House Gallery, Waitakere City
2007 Maker, June-July: Dunedin Public Art Gallery, Maker
2007 Giants Saints Monsters, Centre of Contemporary Art, Christchurch
2006 God and Death, Ashburton Art Gallery
2005 Rise, March; Eastern Southland Gallery, Oct: Te Manawa Gallery
Nova Arts Trust, London, United Kingdom
New Contemporaries, Sydney, Australia
Wallace Arts Trust, New Zealand
Hocken Collection, University of Otago, New Zelaand
Christchurch Art Gallery–Te Puna O Waiwhetu collection, Christchurch. New Zealand
2009 Light Works, J Robinson, D Eggleton, Mark Hutchins Gallery
2008 New York: Works on Paper, J Robinson, PaperGraphica
Ghost Guest Host…, J Robinson, S Flannigan, Lopdell House
2007 With Drawn Doodle, J Robinson
Maker, J Robinson, J Paton, Dunedin Public Art Gallery
2005 Giants Saints and Monsters, J Robinson, C Knox
Night Patrol in a Psychic Shellhole
…a reflex response to James Robinson’s Light Touch mixed media exhibition at the Mark Hutchins Gallery, Wellington, March 2009…
Starters red as tamarillo or raw venison,
accompanied by the pink babble of tongues
in Wanaka or Henderson;
a smell of petrol, flash of kebab scimitars,
café echo of steel strings
from just-played guitars, sonics of solar wind,
cigarillo whiffs puffed from wound-down windows
of Cuba Street’s vintage cars,
making as if inside his cranium
it’s snowing on Mars.
Don’t get him started on his chainsaw manifesto,
where he’s making a clearing in the bush,
channelling John and Yoko,
while watching amphibians leap for the trees.
Got lift-off like a rocket from a silo,
and his meat-rack skeleton dangles in the breeze,
and his press-ganged television is a black hole rush,
out of which poison rain for the soul bleeds,
decayed to an utter-grey crush
of germy ooze a-go-go.
Gets inside your blind spot, and starts to meet your eye;
seizes on microdramas, and blows them sky-high.
Peek in at his windows,
as if disdainful of disease beneath undone flies —
but somewhere between stigma, stigmata,
smegma, and stick it mate,
he makes you see niceties can turn out to be lies.
The shrunken heads of modern-day psychologies
decorate his mantelpiece singing a cantata —
listen to their tiny cries.
Stark as a million-man-march to tootle and drum, ants
track where he paints on trench coat, cast-off pants,
or tarp salvaged from a hangi pit,
merry as a muppet beneath façade of filth,
with cauliflower ears and virile nose hairs,
the twisted vista of a big face that rants
bag-lady style, with the beauty of the health-
damaged, best seen in unnatural light,
yet sad-eyed in all-too-human defiance —
a revealed creature of fragile happenstance.
He sews in white, tooth and nail, and as spiders can,
he cobwebs the trap shut, gets under your skin,
to summon child armies of redemption,
then builds a butterfly net of red thread
to capture abandonment’s tremulous dread,
until breaking news is finally broken
against the needle-click of emptiness.
He whistles like a tohunga to wake the dead,
but when the airbrush has spoken,
it is the alien, the other, he has woken.
Out of scorched earth purple spurts,
like smears of bougainvillea blossom,
or streaks of monster blob silly putty ectoplasm,
or brightest bogan camouflage uniform
in which a kid slouches, boom shudder boom,
to ignite the room — a shellshocked soldier
whose wounds have been cleansed by maggots,
or a Coast-to-Coaster
with fathomless levels of ticker,
chasing the flow down through the river.