Then there is the austere yet expressive quality of the paper work. The reductive and diminutive imagery projects beyond the limitations of size and is also more taken in as a whole as compared to the sculpture which can only be viewed at some sort of angle.  They also have the advantage of texture, a wider range and use of line and more color, albeit within a tight range of earth tones, grays and blacks.  Yet for all the differences between the two mediums Rabinowitch links them with a common vocabulary of forms and a similar approach to the materials. But ultimately they are tied together in the manner by which they express the artist’s esthetic.

Joan Robey likes to arrange things; more precisely, found objects.  The things she finds are often interesting enough in their own right given the variety of materials, textures and colors. But her juxtapositions exceed the esthetic currency of the objects so as not to distract from the larger enterprise.  For example, look at a piece composed of curve bits of wood placed on the 

Joan Robey, OK Harris Gallery

Joan Robey, OK Harris Gallery

wall.  Alone the color and texture of the wood pieces are highly seductive.  But it is their circular arrangement including a subtle though effective use of empty wall space and shadow that makes the piece greater than the sum of its parts.  Like David Rabinowitch, Robey is completely at ease working on and off the wall without one approach distracting from the other.

Another huge component of Robey’s art is her approach to the concept of balance.  In the example above the circle, as articulated by the placement of the wood pieces, creates an expected symmetry that goes undelivered. This exacting relationship goes straight to the content of her work.  Now look at another piece composed of a thin horizontal frame balanced precariously (so it seems) on two stout upright supports.  So far so good; but then there is that annoying open cylinder hanging on one corner.  It appears to be just on the cusp of tumbling off the edge of the frame. In this and several other pieces Robey manages to beautifully capture a combination of potential anarchy and suspended fragility that serves as a sublime metaphor for life itself.