A WORD A WARD A DRAWING A WING
A BIRD A BARD A SINGING A SONG
A TONE A NOTE A WORDING A POEM
A LINE A LANE A WINDING A TALE.....

.....TALES of Robin Croziers textual compositions are already known, not alone through Mailart-circles but also through some Art-institutions. Robins various endless drawings, “views”, “memories”, “white lies”, “rites”, “table-projects”, “self-portraits”, “wandas”, “ghostwriters”, were nourished through contributions of other artists and through his participation to projects of other artists. The myth of his imaginary “WANDA” became reality  and some people asked if Wanda was a real or fictitious person.

Born 1936 in Gosforth (England), studying fine art and teaching at the Sunderland Polytechnic in North-England, Robin was a conceptual “poet” who's textual & visual notes were already drawn with feltpen or feltpen-designed rubberstamps. This in a epoch of standardization, automatisation and computerization, even copies of his own originals for assembling-processes were always produced in his handwritten feltpen-characteristics -each copy an original.

I became one of the first informations about his work during the seventies through book-publications like the american “ESSAYING ESSAYS” of Richard Kostelanetz,  the french “ART & COMMUNICATION MARGINALE” of Herve Fischer, the swiss “DRAWINGS, COLLAGES & OTHER WORKS” of Ecart publications, the netherlanders “TABLE-PROJECT”of Stempelplaats, and some others.

During the eighties I participated to some of his projects and he contrited own drawings or assembling pages to my publications, like No.36 of Commonpress, Clinch & Out-press. During the nineties I invited him to a sound-event here in Geneva, which was realized via a direct telephone-line at the stage of the annual festival “poésie sonore”, 1995. There he recited fragments of his “Wanda” in collaboration to my and other collaborators sound-concept.

Robin didn't pay attention if his writings, drawings or actions were shown in a known or unknown space, book or leaflet -and of course dependence of the art-market wasn't what he liked. Some concepts of his production-processes involved impersonal printouts, overtouched with personal fingerprints and sequences of numbering each page, moving forwards, backwards and onwards, turning and ordering each sheet and using it for a concept of the next sheet-staying as producer, performer and spectator in a never ending reflective combination of changing parts, words, objects, structures and people.I saw in Geneva the first as also the last exhibition of his drawings , the first one was a solo-show, held 1975 in the gallery ECART, the last one was a group-show, held 2001 in the museum of modern art (MAMCO) two months ago.

His conceptual drawings were life-concepts, shown as “live drawings”, nourished through contributors participations around the world and realized through “real imagined think-processes”. The network has lost a big pioneer and participant in the mailart field, how “endless” this field would be: “EACH MEMORANDUM CONTAINS RANDOM MEMORIES RECORDING TIMES PASSING THROUGH ROBIN CROZIER WHO RECORDS THESE MEMORIES”, which I memorize now here.