Numerous hallucinatory visions of space travel where aliens predicted the End of Days through complex numerological formulas and warned him about the dangers of adultery and fornication led Robertson to believe that he was a victim of a global female conspiracy.

[7][12] Robertson worked on materials like poster board and paper or wood using magic markers, tempera paint, colored pencils, ballpoint pens, and glitter.

Frequent themes included images of aliens and their spaceships, Bible verses and religious references, fire breathing, godzilla-like monsters, snakes, architectural drawings of houses and temples in futuristic cities, superheroes, and portraits of Adell often identified with Jezebel and other Amazon-like "harlots".

[14] His colorful drawings often included rambling, judgmental, ranting texts, sometimes in comic book-like speech balloons, about "adulterous whores" and unfaithful spouses.

He frequently referenced precise and painful moments in his life, particularly his wife's unfaithfulness to him, and produced calendars chronicling memories of his marriage in short journal notations scribbled in each date's block.

[15] The exterior was decorated with a variety of painted and rotating signs including warnings that "whores" and "bastards" should stay away and misogynistic messages denouncing "bad" women often addressed to his ex-wife Adell.

[6] Called To Create: Black Artists of the American South, National Gallery of Art, Washington, DC, September 18, 2022 – March 26, 2023, curated by Harry Cooper.