Page 1 Page 2 Page 3 Page 4 Page 5 Page 6 Page 7 Page 8 Page 9 Page 10 Page 11 Page 12 Page 13 Page 14 Page 15 Page 16 Page 17 Page 18 Page 19 Page 20cyanotype. Thought Bubbles, presented as archival digital prints, are serendipitous accumulations or juxtapositions of materials that interested her. Short phrases clipped from The New York Times became found poetry: “inferred from subtle changes,” “unravel the circumstances,” “while in motion,” “caught between two worlds,” “under the rosiest assumptions,” and “I see it every day,” are among the phrases that populate Weighing Papers.   Two works in the exhibition follow directly from Beach Debris. Among the categories of things Hill collects are sea bricks and concretions. Sea bricks are exactly what they sound like—ruddy, fired-clay building blocks worn, eroded and rounded by water, sand and time. They lose their manufactured rectilinearity under the forces of nature, eventually taking on the form of rocks and pebbles. Concretions are geological oddities, round and hard, millions of years old, created in a complex process of organic decay and mineralization in the sedimentary layers of ancient oceans. Now and again, they drop from the oceanfront cliffs, and Robin Hill has been assiduously harvesting these stones from her beach for decades.   In determining the form of these two new installations, Cairn and Concretions, Hill turned to friend and designer Ulla Warchol, who sourced used lumber and constructed supports for the collections of sea bricks and concretions. They have been placed on raw planks atop sawhorses; these supports are not mere pedestals but integral parts of the realized sculptures. Hill offers these found, studied, and chosen objects to us, as on an altar, as touchstones for an awareness of time, process, material, art making and the pure experience of experience itself. Jill Weinberg Adams New York, February 2017 left to right: Concretion, 2004; Beach Debris, 2003 (detail); Clearing #1, 2002; Mica Fiche, 2010