I stain my heart with thoughts of you so resistant: Aiko Robinson

Boldly erotic yet delicately intricate, I stain my heart with thoughts of you so resistant is Aiko Robinson's first solo exhibition at Gow Langsford. The Perth-based artist joined the gallery's roster of represented artists last year and we are delighted to present her latest body of work. Robinson's practice engages the historic Japanese ukiyo-e art form of shunga - playfully erotic works that were prevalent during the Edo period (1600 - 1800) - seen through a contemporary lens. Her work is laboriously detailed, primarily working with traditional ink and printmaking techniques.  Robinson sensitively explores themes of intimacy and sexual politics, capturing moments of passion, tenderness and romance between couples.

There is a studied craftmanship behind Robinson's unique practice. Carefully composed, her drawings delight in the interplay between negative space and colour. Precise ink and line etching create not only the titillating moments of intimacy between couples, but full surrounding environments of beauty with a distinctly Japanese flair. Examples from the exhibition include The passion of the red camellia is a flame that never ceases. This work depicts a couple who are intimately engaged amidst foliage. Bright red blooms at the lower left and right contrast with an otherwise predominantly cool palette. The erotically charged moment between the figures is in plain view, yet not overly explicit. Only the mandarin lights hear our intimate whispers presents two women lovers beneath a tree, a house in the background. Brilliant orange flowers in the foreground and the colourful sashes worn by the couple highlight Robinson's adept use of colour as a compositional device, bringing viewer attention to the intimate subjects in the lower centre of the picture plane.

In the past, Robinson's subjects have been headless, a way of steering the reading of her work away from questions of identity politics, but this recent body of works sees a shift where we start to catch glimpses of facial expressions and features.  Robinson comments, "Perhaps one of the most exciting things about this body of work for me is the introduction of heads and subtle hints of facial features. Audiences who are familiar with my previous works will know that I have typically left these details out. I have abided by my own strict rules until now in an attempt to steer the conversation away from the subject of identity politics, particularly as it relates to sex. While some of my viewers have requested to see more diversity in the figures I draw, I have chosen to avoid the subject of identity for fear of misrepresenting and sexualising specific persons, and unintentionally causing harm or offense. My interest lies not in the persons partaking in sex, but the act of sex itself and how it is portrayed in society… It has become increasingly apparent to me that if my headless figures can never be completely void of identity, then perhaps whether they have heads or not does not really matter. This question has sent me spiralling countless times during my art career, but I finally made the decision to stop overthinking. It was time to draw a damn head and see where it could lead me." Robinson's figures are, for the most part still obscured or partially obscured, but she uses their presence as a way of expanding her language of texture, particularly with the introduction of flowing long dark hair.

In a broader sense, the works presented in I stain my heart with thoughts of you so resistant demonstrate the conceptual framework Robinson operates within. A key aspect of this is the translation of traditional Japanese techniques into a contemporary western context. Japanese ukiyo-e painting and printmaking had a huge influence on the western perception of Japanese art, such as the detailed landscapes of Hokusai and Hiroshige. Robinson undertook postgraduate study of printmaking in Tokyo, and her work has been influenced by these traditional techniques. This exhibition includes three new editions, which translate highly technical compositions as etchings and aquatints.

Further to this, shunga itself is an art form with a rich historical tradition. The artist has stated, "Historical Shunga reflects the acceptance or celebration of sex in Shinto culture, and values love, mutual pleasure, and equality between sexual partners. Shunga, which literally translates to 'spring pictures' is also positively associated with the season of fertility and new life. I am interested in how these idealised visions of the Shunga artist might compare to prevailing ideas regarding pornography in contemporary society." While contemporary pornography retains contextual relevance to her work, Robinson's images are playful and joyous - celebrations of human intimacy rather than gratuitous portrayals of sex. Robinson has created artworks that engage with historic source material, while navigating contemporary themes and perspectives on intimacy and sexuality.

Robinson has New Zealand and Japanese heritage. She completed a BFA at Elam School of Fine Art in Auckland and was awarded a scholarship to study a Masters at Tokyo University of the Arts.  Subsequently, she has based herself in Perth, Australia. Gow Langsford Gallery has represented her since 2023.