Yet this restless, quicksilver
proclivity for change came to suggest not so much a continual transformation in
artistic premises — as it would with another protean artist such as Picasso — but the absence of any
artistic commitments at all.
Aesthetically Rainer and Pendleton demonstrate a
proclivity for deconstructed and fragmented forms, which mine everyday dimensions of life for
artistic material, frequently deployed with a sense of irony, and a preference for minimalist expression.