Robin’s painting career began with a 12-year, self-imposed period of abstention from entering exhibitions and seeking gallery representation, as he transitioned from painting toward sculpture. His employment toggled from blue-collar construction jobs to corporate design and marketing positions. He is currently in his 15th year as a building maintenance worker. During all forms of employment, Robin maintains a studio practice in conceptual sculpture and drawing. In addition, he has curated exhibitions in Maryland, Northern Virginia and Richmond. Invited to residencies at Virginia Center for Creative Arts and Azule Arts in North Carolina, Robin fashioned original outdoor pieces for each. At VCCA, an homage to Van Gogh’s “Sower” paintings took the form of a standing winged maple seed, which was suspended between small saplings and made of gleaned deadfall. At Azule Arts, he collaborated with Marcos Smyth in creating a proscenium stage woven of limbs that formed drawn-back curtains to reveal Smyth’s large-scale, mythic figures in the vale beyond. Recently, Robin installed another “Sower” made of deadfall and grape vines at the Robinson Nature Center in Columbia, MD. This work’s veined wing formed a 14ft high alcove as it arched over from its pod to touch the ground. Visitors could assemble under it for their photographs. Robin’s art seeks a delicate balance between aesthetics, intellect and introspection. As a youth, Impressionism’s soft forms, luscious colors and buttery impasto offered pleasing temptations. With maturity, education and self-reflection, his concept of “beauty” rapidly evolved into an eclectic stew of art and autobiographical influences. As the son of a maternal suicide, Croft grew up racist in a religious family, during a period of racism, integration, political assassinations and the Vietnam War, leaving little patience for impotent art. Absurdity, tragicomedy, loss, racial atonement and homage are frequent thematic touchstones.