May 20, 2005  Jerome Lipani, Times Argus

There is a sense of the invisible that pervades the work of Delia Robinson, a sense of the unseen apprehended in her sudden illuminations of ripe political or psychological reality. Her work, deeply felt and somehow joyfully let go of in the same moment, seems to inhabit a personal present that is shaded by a collective and depersonalized history. She manages to leave the space for the viewer to participate in pointing the way to a (shared) future. A time-defying collision of the unseen and the ubiquitous has revealed a certain high level of personal and societal conflict, and then given way through the artist's pervasive good humor and courage and grace in the face of tragedy  to creating a space where one can live.

There is often a sense of an over-arching mythic political and Darwinian struggle for power  and how it dominates the life of the tender and lonely and vulnerable human being. This struggle is counterbalanced within each piece by an ethereal and comparatively sur-rational steadiness of just  breathing the next breath, taking the next step.

Whether on the global level of international war, or on the deeply personal level of a moment of longing, either for deliverance from suffering, or for the emotional fulfillment of a new and loving intimacy, which might be either requited or hopeless fantasy, her pictures convey a multi-leveled simultaneity of dreamlike self-awareness. Robinson's representations of complex thinking  maybe of thought, itself  help the viewer to leap acrobatically over or through a corporatized media-filtered reality so common as to have become almost unnoticed.

The appropriateness of her listing of "Xerox" as a legitimate art medium among the list of "mixed media, graphite and some color pencil" is estimable, because medium and message have merged.

Robinson's paintings, drawings, and shaped Styrofoam paintings often find their structure in the remnants of medieval drawings of celestial geometry submerged into her "damaged" surfaces. I, personally, feel very closely allied to this conceptual approach to the apprehension of a developmental self. So might any viewer who is willing to become temporarily suspended in time and place; brought to the edge of imaginative faculties; made painfully and humorously aware of interior struggle