PETER ROBINSON

His work seems to exist in a constant state of flux and change and his subject matter also appears to swing between an articulation of intellectual ideas and pop culture but certain forms and ideas run through his practice. Originally trained as a sculptor, he has also worked in painting, drawing, installation and digital media. His style has varied from rough hand written text on placards to the slick, clean aesthetic of digital prints.

Robinson’s early works were concerned with personal and racial issues as he analysed and responded to his part-Maori heritage. He used painting and sculpture to wittily critique assumed aspects of bi-culturalism, the branding of ethnicity, and careerist strategizing - while simultaneously embracing them. He created a series known as the Percentage Paintings in the early 1990s that discussed his specific racial make-up. The works posed the question to the viewer – should a percentage of Maori blood determine his personal and social character, and his importance as an artist? He found that art critics began to stereotype him as a Maori artist but that personally he was not able to work in traditional Maori forms because this felt ‘inauthentic’. Recognising this he changed direction and shocked art critics by adopting both Pakeha (non-Maori) and Maori voices often in a contradictory way. From this bi-cultural perspective Robinson could incisively comment on the complexities of race relations, both historical and contemporary, in New Zealand.