Low Interest / High Interest
Peter Robinson, b. 1966
1995
oil and bitumen on plywood , 707 x 1100 mm (diptych)
signed and dated verso: “Peter Robinson”
Provenance: Private collection, Auckland
It may not be the best time to talk about the economy but Low Interest / High Interest (1995) makes it easy conversation. In our current climate you’d be forgiven for thinking that Peter Robinson is commenting here on the volatile global economy, but Low Interest / High Interest deals with concerns that are not as easily affected by interest rates and soaring petrol prices. Painted in 1995, well before the current slump, Low Interest / High Interest like most of his work of this period deals with cultural identity and the interpretation of cultural values through commercialism.
“At first glance Robinson’s work appears to be a crass celebration of commercialism. But his parade of commercial slogans is an over-investment in their surface values, an ironic demonstration of the ways in which cultural stereotypes are maintained and dispersed within global economies” (Burke, G. & Weiermair, P. (1995). Cultural Safety. In Burke, G. (Ed.), Cultural Safety (p. 23). Wellington, NZ: City Gallery Wellington & Frankfurter Kunstverein)
Low Interest / High Interest makes a direct and pointed comment on the politics of the art market and the perceived “limousine lifestyle”. While it may be considered tongue and cheek, it is a market that Robinson knows assigns him the added value of being considered Maori, despite being only around three percent. This personal statistic is also used visually throughout his work to challenge parochial assertions that race can be measured in fractions.
The counter change of the traditional Maori colours, red, black and white in Low Interest / High Interest serves also as a poignant reminder of the often unfair cross-cultural exchanges between Maori and Pakeha throughout the 20th Century. Rendered in Robinson’s sparse and graphic style Low Interest / High Interest typifies his exploration of contemporary politics.
Peter Robinson is a finalist in the 2008 Walters Award.