Press/Reviews

Loose Tension - Gray Magazine

A Vancouver residence revives the art of sculptural landscape with both razor-sharp precision and artistic flair. - Written by Debra Prinzing

Eastside Culture Crawl offers rare glimpse into sculptor's work

The route to the Robinson Studio Gallery is a spiral through industrial hallways covered in posters for exhibits. The grind of machinery from the cabinetmakers below reverberates through every corner, blocked out only by massive doors.It’s a place most people would never think to go, but this is precisely the kind of hidden treasure the Eastside Culture Crawl — now in its 17th year — seeks to reveal.

A week in the life of artist David Robinson

EXHIBITION I Vancouver sculptor prepares for a show that will hopefully make him money and get him some recognition

BY SARAH DOBBS
FOR THE VANCOUVER SUN October 20, 2003

Six weeks before the opening of his exhibition at Vancouver's Tracey Lawrence Gallery, sculptor David Robinson is feeling the pinch. His goal of completing seven new pieces within four months is almost accomplished.

Interval, GAP and Windows: The Conditional Monuments of David Robinson

Upon encountering the beast, one is already confronting a seemingly endless series of allegorical shifts: the mythical centaur, with uncharacteristic complacency, supports an equestrian, who sits astride his incredible mount with equally incredible slack insouciance. This complex set of relationships is overtaken by another, for it soon becomes apparent that the attitudes of the two figures are not merely equivalent, they are exact replications of one another. And yet one takes precedence over the other. Perhaps it is because the angle of its gaze meets one's own in closer proximity, or maybe it is due to some vestigial lack of faith in representations of mounted leaders, but it is with the figure of the centaur that one first establishes empathy, not its human rider. This equestrian monument deftly turns the genre upon its head, making an oppressive weight of the rider and a heroic underdog of the normally marginalised horse. It is an uncanny thing, familiar but made strange, that tugs one both backward to the Ur-world of a collective unconscious, and forward toward an unpossessable future.

Religious studies: David Robinson's relation to faith lies at the heart of a spellbinding exhibition

By Michael Scott, Visual Arts Critic | The Vancouver Sun

David Robinson On Holy Ground: Reflections on Biblical Images. Regent College, UBC, to Dec. 24.

Vancouver sculptor David Robinson was not eager to undertake a commission for Regent College, the University of British Columbia's graduate school of Christian studies. An Anglican minister's son, Robinson had tangled feelings about commission work in general, and religious subject matter in particular.

Cutting Fine Figures

Sculptor David Robinson asks us to look at each other through his eyes.

By Michael Scott, Sun Art Critic | The Vancouver Sun

Means and Ends: Figurative sculpture by David Robinson. Evergreen Cultural Centre, 1205 Pinetree Way, Coquitlam until Nov. 15.

Whether it's in life or in art. some people have a hard time with nudity.

Naked Introspection

David Robinson's nude sculptures are meditations on being human.

By Barry Link, News Reporter | The Richmond News

He might be sitting beside you on a bus, or a few seats down in a movie theatre; he might be sprawled across a sidewalk or standing outside an art gallery as you pass by. These pale, quiet figures are all friends of David Robinson's, people he'd like you to say hello to over the next few weeks.

Nude Everymen Make Revealing Connections

David Robinson - Inhabitants
At the Richmond Art Gallery until June 30

By Paula Gustafson | The Georgia Straight

David Robinson would like to see his Vertical Desire hung in a public spot.

Drivers slowing for pedestrians at the crosswalk behind the Richmond Centre shopping mall will be doing double takes during June. Gazing at them from the windows of the Richmond Art Gallery are two of the life-size nude male figures sculptor David Robinson created for his Inhabitants exhibition - the first phase of an urban installation project that involves casting the plaster figures in multiples and temporarily placing them in unlikely public spaces.

David Robinson at Diane Farris

By Matthew Kangas | Art in America, October, 1996

Drawing on his experience as a laborer on large-scale high rise construction projects in booming downtown Vancouver, 32-year-old David Robinson has cleverly adapted the daily danger of such work into his sculptures: assemblages of minutely welded metal grids on which realistically sculpted male figures are precariously perched. In a number of cases, including Perfect Imbalance (1991), By Any Means (1993) and Sliding Scale (1996), the works are suspended from the ceiling, further underscoring an air of delicate balance.

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