Akin to Edward Hopper's New York Movie Cowheeler Supreme performs a psychoanalytic destructuring of existential alienation, while deploying mirrored irony. To the left of the woman, in the glass window of the upright dryer unit, is the muted reflection of the painter who, in this self rendering, bears a striking resemblance to Sigmund Freud. Suggesting the behind the scenes presence of the 20th century conscience apparatus (appropriately for this painting, dubbed a shrink) the sight of the mischievous, infinitely-reflected figure lurking amidst the sheets breaks the somber mood of the woman. She apparently is not alone nor lonely in her despair. Thus, engaged in a dialogue with contemporaries along with artists of old, in an erudite post-modern recoil on the reflexive gravitas of Valasquez and Manet, the scene suds over as folly. Robinson's Cowheeler Supreme makes a play on announcing itself as a contrived scene.

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