Paul Robinson’s paintings feature three key elements, trees, repetitive patterns and representations of decaying painted surfaces. The paintings are precariously near to disassembling, as the amalgamations of his ambivalent recollections are disparate and fragmented. Yet an instinctive process of non-sequential layering combines these disjointed and seemingly disconnected elements seamlessly together. Robinson begins his paintings by establishing a surface loaded with character and depth, rich in organic and synthetic tones. Viewing his process as a type of artificial decay, he creates natural forms by laying fabrics and paper towels onto the canvas that absorb and transfer the paint that he pours freely. Robinson is constantly documenting various trees for his photographic archive; some are stumbled upon when travelling with a loved one, some encountered on a daily commute and others are obsessively sought out whilst looking for an idyllic tree to express his current series of thoughts. The trees used in the paintings are of emotional significance to the artist; but as with all objects, living and dead, the feelings attached to them are transient. The repetitive patterns Robinson uses in his paintings are again chosen from his photographic archive. They are not solely there to serve as a decorative nuance, but instead bring a further layer of his personal history to the paintings. The pattern used in his most recent paintings is appropriated from his mother’s wallpaper, which hung on the walls of his childhood home for almost twenty-five years until it was stripped away this year. The selected pattern goes through a process of digital reconstruction, creating a fflawless crisp design.