These Hammers Don't Hurt Us

Informed by an underlying sense of anxiety and anguish, Michael Robinson’s Polycephaly in D nestles fragments of narrative within a collage of sound, image, and text that oscillates between the elegant and the discordant.

A modern prophet’s visions of mythical destruction and transformation are recounted across a turbulent geometric ceremony of rising curtains, swirling set pieces and unveiled idols from music television’s past. Together, these parallel cults of revelation unlock a pathway to the far side of the sun.

Dormant sites of past World's Fairs breed an erruptive struggle between spirit and matter, ego and industry, futurism and failure. For thine is the kingdom and the power and the glory; nothing lasts forever even cold November rain.

The cabin is on fire! Krystle can't stop crying, Alexis won't stop drinking, and the fabric of existence hangs in the balance, again and again and again.

Made for the 2009 PDX Film Festival "Karaoke Throwdown" in Portland, OR.

//\///\////\ contemplates the same-day deaths of Aldous Huxley, C.S. Lewis, and John F. Kennedy (all deceased on 11/22/1963) through the voices of the their respective wives (Laura Huxley, Joy Davidman and Jacqueline Kennedy Onassis). This meditation on visionary states of being unfolds across three sites of radical ambition: a failed desert commune, the ruins of a secret fascist compound and an empty glass cathedral. Part of the ongoing collaborative project by Phillip Andrew Lewis and Michael Robinson, Our Hyddeous Strenkth.

A self portrait in copy and paste.

A collection of discarded souls, rescued from the trash of a college darkroom.

Culled from segments of the Miss USA pageants of the late 1980s, Robinson’s silent two-channel video, 'Desert States (You Win Again)', reduces and refracts the source’s highly-gendered pageantry to its rawest form of ceremonial spectacle.

An exercise in repetition enacted across nine summer landscapes.

A password-protected love affair, a little vapor on Venus, and a horse with no name ride out in search of a better world. Against the mounting darkness, a willing abduction offers a stab at tomorrow.

Plagued by blindness, sloth, and devotion, a troubled scene from Little House On The Prairie offers itself up to karaoke exorcism.