Gerd Rothmann, Karl Fritsch and Robert Baines in Returning to the Jewel is a Return from Exile2

Forget-me-not Blue
Robert Baines 2010
The conveying of love and sacrifice through the vehicle of red has antecedents since time immemorial. Within all the substances to convey red is the enjoyment of entropy and in its ultimate state of degeneration the symbol becomes quiescent. The fullness of red remains untold. Regarding the condition of red, the following quote from Claes Oldenburg has been most influential to Robert Baines.
I have just had an insight, red is redder than green, meaner than yellow, and bloodier than black
A,AAA,AAA¿.REDEVENT is a jewellery group comprising the following series: The Intervention of Red, commencing 1994; The Entropy of Red 1995; REDLINE, commencing 1996; A Vesseled History 1997; Bloodier than Black, commencing 1998, Meaner than Yellow, commencing 2001, and Whiter than Red commencing 2004. Redder than Green at Cagnes-sur-Mer now becomes part of REDEVENT.
Use of wire to build structure in this art making has direct historic derivations, though at times this may appear quite obscure. The knowledge of ancient and historic wire particularly through 'laboratory reconstruction' has been a profound vantage point to apply in a contemporary context.
Forget-me-not Blue employs multiple combinations of wire manipulations to build form and surface. The invention of new wire systems and linear network placings are a strategy to capture space. In this ring the jewellery is a seeming dismantling of historic formalism, and the application of colour and paint in an almost graffiti approach further extends this.
Forget-me-not Blue is a departure from REDEVENT. It is a political statement based on the John Williamson song Hey True Blue 1986 where there is a call or lamentation over a changed Australia principally due to the impact of multi culturalism and the demise of an earlier cultural identity.

《勿忘我蓝（Forget-me-not Blue）》
罗伯特·贝恩斯（Robert Baines） 2010年

以红色作为载体传递爱与牺牲的意象，其溯源可至亘古之时。在所有用以传递红色的载体中，均蕴含着对熵增的感知；当符号抵达衰变的终极状态时，便会归于沉寂。红色的饱满意蕴始终难以言尽。

关于红色的特质，克莱斯·奥登伯格（Claes Oldenburg）的下述言论对罗伯特·贝恩斯影响至深：
“我刚刚获得一种顿悟：红色比绿色更浓烈，比黄色更凛冽，比黑色更血腥。”

REDEVENT珠宝系列组包含以下子系列：《红色介入》（The Intervention of Red），始于1994年；《红色熵》（The Entropy of Red），1995年；REDLINE，始于1996年；《容器中的历史》（A Vesseled History），1997年；《比黑色更血腥》（Bloodier than Black），始于1998年；《比黄色更凛冽》（Meaner than Yellow），始于2001年；以及《比红色更洁白》（Whiter than Red），始于2004年。现位于滨海卡涅（Cagnes-sur-Mer）的《比绿色更艳烈》（Redder than Green at Cagnes-sur-Mer）现已归入REDEVENT系列。

在该艺术创作中使用金属丝搭建结构的手法，有着直接的历史溯源，尽管有时这一溯源显得颇为隐晦。对古代与传统金属丝工艺的研究——尤其是通过“实验室复原”的方式——为当代创作提供了极具深度的视角。

《勿忘我蓝（Forget-me-not Blue）》通过多种金属丝工艺组合搭建造型与表面肌理。全新金属丝结构体系与线性网络排布的构思，是捕捉空间的核心策略。在这件戒指作品中，该珠宝看似消解了传统形式主义的桎梏，而近乎涂鸦式的色彩与颜料运用，则进一步延展了这一创作思路。

《勿忘我蓝（Forget-me-not Blue）》是对REDEVENT系列的一次突破。该作品基于约翰·威廉姆森（John Williamson）1986年的歌曲《嘿，纯正蓝调》（Hey True Blue），借由这首歌中因多元文化主义冲击与本土早期文化身份消亡而引发的对澳大利亚巨变的呼吁与悲叹，传递出其政治立场。