Reviewing Aurora Robson’s work in the May 2015 issue of Sculpture Magazine, critic Barbara Schreiber writes, “[Robson] works with a global nightmare of a material—plastic. Robson was first motivated to work with salvaged material after learning about the Great Pacific Garbage Patch. She has an oddly personal attachment to her plastic flotsam, anthropomorphizing it in numerous ways, including ritualistic cleaning, a process that seems akin to biblical footwashing. Therein lies the beauty, profundity, and intoxicating WTF-ness of her creative practice.”