The work of Mario Andres Robinson fits squarely within the tradition of American painting. His finished works bear a close affinity with the masters of the realist tradition, Andrew Wyeth and Thomas Eakins. Containing few references to modern life, Robinson's work has a timeless and universal quality, and exhibits a distinct turn-of-the-century aesthetic. The images he chooses, which refer to a bygone era where solitude and reflection were abundant, also provoke frequent allusions to the paintings of Winslow Homer and Edward Hopper.
Beginning in 1994, Robinson's work began to extensively incorporate rural subjects primarily located in the state of Alabama. Each subject is very personal for the artist on both selection and execution. As the work progresses, his relationship with the sitter develops and a uniquely personal story begins to evolve. Robinson frequently depicts his subjects framed within the context of their daily lives. The underlying narrative counters sentimentality and serves as the emotional underpinning for his figurative works.
While a confluence of styles has exerted varying degrees of influence over Mario Robinson, the artist's individuality continually asserts itself. He is capable of exceptional proficiency, which he uses to convey his vision of people and places in his immediate world, and the rural venues he chooses to depict.