“Currie fuses a mathematical precision with a love of the uncontrollable to create his intricate visions of controlled chaos. His work not only draws upon an eclectic array of past and present artists, but also shows a keen awareness of the opposing hypotheses of chaos theory - the notion that order will inevitably descend into disorder - and complexity theory, which argues that order will always emerge in any sufficiently complex system. As a result his installations, sculptures and drawings provide an apt metaphor for how all artists work: well-defined series are interrupted by accidents and experiments, and seemingly spontaneous works turn out to have an underlying structure. Currie recognises that an artist's oeuvre never fits into a coldly logical path, and deftly uses this fact to create a beguiling body of work.”
Robert Currie's work examines structures and energies that exist around us; those that are visible but go unnoticed and those that are invisible, considered inconsequential, despite affecting our everyday living. His work focuses around the opposing theories of chaos theory, the notion that order comes out of disorder, and complexity theory where it is seen as inevitable in any sufficiently complex system, that order will emerge. An example of chaos theory is the turbulent flow in certain liquids that creates vortices, ripples and eddies; the point where 2 bodies of water merge - one moving so fast it lacks coherence, the other moving so slowly it is entirely coherent. It is at this point that order emerges and creates effects such as vortices. However, that resultant effect will always be dependent on combinations of variables that are unique to that time and space, and it is this intersection that interests Currie. His appreciation of how combinations of variables, the 'forces of nature', manifest themselves comes from years spent on the Isle of Man. Now living and working in London, his sensibility and awareness of these forces is applied to an urban environment. He consistently develops contrasts within his work; rational and irrational, negative and positive, order and disorder, filled and unfilled. His recent work, a series of drawings, follow a systematic process in an attempt to accentuate the human touch. The act of drawing individual lines, building up an image by layering and intersecting, gradually loses mathematical and logical precision as each line is subject to minute variations. These variations have an aesthetic quality where each line becomes more descriptive and harmonic. When the lines are grouped together the systematic relationship is replaced by a more active one of both tension and relaxation.