NAP Contemporary presents Theorems, an exhibition of new paintings from Anabel Robinson. Robinson is a young artist from Melbourne. Her recent exhibitions show both paintings and not-paintings: textured and perspectival surfaces. Their marks, colours and orientations are all at the mercy of a world which lies heavily down.

This gravitational and illuminating play can be found wandering through Robinson’s compositions. Space is opened by a subtle puncture in the fabric, through the hole a vacuum is produced and irresistibly pulls the world, and its
‘content’ through. To the other side. This is a bit like the wormholes from Donnie Darko, it’s also like an email.

In the new paintings, the picture plane has been cleaned up a bit, dysoned, and underneath peaks some fabric, some vinyl, a skirt, some pants and billboards, a convertible. You cannot have vinyl without oil, deep sea drilling. It would be good to try and describe the particular type of mark making going. Fungal, more upper arm than wrist, beatles, outer space, hair cut, pillow case, train, parents garden, boston ivy.

Driven insane, mute, deaf, dumb and blind by the earthly world, the painter reaches for objects but only colours return. Paintings last true journey, it's one way ticket, through aphorism and mp3, a train to hell. The thinking is related to painting in its expansion across space. Recent commercial developments have followed a similar path. An expression of the final frontier, the galaxy is within reach. You must just destroy the world, yourself and painting to reach it. To return to earth, soil, the library from Interstellar, is via love, via reality. Every mark leaves the centre, its edges proving irresistible, once reached they prove dissatisfying. True love, like art, destroys reality, the millipedes take over.

- Calum Lockey