“Robinson has an aversion to easy solutions, and initially avoided dualities. Ultimately, however, he found that they were a necessary part of the road to wholeness. On a technical level they appear in his works as contrasts of rough and smooth, cool and warm, recession and flatness, shine and matt, whilst on the philosophical level the Yin and Yang are reflected in the partnership of intellect and intuition. The basic structure of his works is intellectual, but the paintings themselves—even ones which, like Drop (1982), appear totally pre-planned—are in fact the result of intuitive subconscious decisions made as the work developed. As such, Robinson’s works initially communicate non-verbally after which they open themselves to rational analysis..”

— Peter Gilderdale, in Art New Zealand Issue 57, 1990-91