The
cinematic cut scenes come as a welcome break; they swivel and toss you around towering
landscapes, weave you
through structures, all while you are told the unfolding and sometimes complex story.
Since his Times Square Show debut, his pictorial universe has been incredibly consistent and meticulously staged: a
cinematic landscape often flattened into eerie planes and characterized by classic foreign sports cars, French pop singers, camouflaged Spitfires and troop ships, icons of European cinema and snowy Alpine peaks — a series of very particular, rhapsodic infatuations,
through which he has conjured a fully - realized, unironic, modern - day narrative mythology.