It takes two Robbins, Jeff and Will, to consider stretching the plastic cover intended to protect a couch over stretcher bars, in turn creating a transparent rather than primed surface. The deconstruction of found objects and iconography often appears in the trajectory of Contemporary Art History, yet the Kitsch factor disappears beneath layers of hastily applied gold leaf that appear to be scraped away to expose the painting’s interior. (Gold Metallic) features a dichotomy of high art trimmings on rough and tough terrain. It appears that the Robbins have discovered a way to bear their artistic souls—literally—as the viewer can see through either side of the painting. Nevertheless, the Robbins’ technique cannot be coined as vacuous because although superficially their work is see-through, their thought is tightly wrapped and blowtorched. As a well-hung painting, The Robbins add another dimension to the traditional painting by problematizing the idea of surface. Unable to turn the piece, the viewer is pleasurably tortured with the naughty idea of taking (Gold Metallic) of the wall and view it in the round.
Corrections: In initial article the artists names were misspelled and the medium was wrongly defined. These mistakes have been mended.