Ann Robinson (artist)

As Beazley states "[i]t is … something of a triumph that she has learnt to control cooling processes, which in her larger pieces can take as long as three weeks.

This move is often noted in reference to her art because of the influence of nature in her work, with the native plants there, particularly Nīkau and flax (Phormium), featuring in her designs.

[7] As Powerhouse Museum states, "the spectacular environment of the Pacific region began to influence her designs."

[9] Artists were requested to make something larger than they ever had before and given a phrase to drive their work: Robinson's was ‘Southern Hemisphere’.

[12] Robinson's latest exhibitions, Brim and Capital, display a further development in her work with a more geometric refinement.

Dan Klein comments, in his book Artists in Glass: Late Twentieth Century Master in Glass: “the power of Ann Robinson’s work comes from its bold simplicity, its vivid colouring and its controlled forms”, he further states: “the vessels change as the light changes, giving them a sort of inner life that adds to their magic.”[16] Dan Chappell, in 'Defining Light and Space', Art News, similarly stated, "the more you see of Robinson's work, with its soft, almost fecund, curved vessels and rhythmic patterns of nature, the more you realise hers is more a liberation of light – a release of the inner warmth and pulse from the very core of her creations.

"[17] Peter Simpson, in Craft Arts International, said, "Who knows what more is yet to come from an artist so resourceful, so gifted and with a divaricating habit?

[20] Robinson is one of a small number of people in the world responsible for the development of the lost wax casting technique for glass.