Fat Guy is one in a series of paintings at the fair-ground in which Robinson colours the staged fun of the amusement park with suspicion, boredom and, especially with Fat Guy, a sinister aura. Set against the high-society coolness and detachment of the art gallery exhibition Robinson, the abovementioned series, offers snapshots of stereotypical plebian events. Considering the fairground no less a marketplace for institutionalized behaviour than the musée, Robinson plumbs it for its own brand of drama. In planned contrast with the suspended feeling of Van Art Gal, in which the presence of the unobserved nude creates the sense that nothing has happened, Fat Guy strongly suggests the opposite, that something troublesome has just happened. The carnival operator's look of shame, in concert with the perturbed winces of the foreground women, tells of a perverse and dark narrative that precedes the frame. With cinematic flair Robinson crafts a seductive mise en scène that injects suspense into everyday exchanges.