They signify art as commodity - fetish / object -
of - desire / desired - object by exaggerating references to commodity manufacture - as in the printed surfaces, the repetition
of the same shapes and imagery, the synthetic palette (hues typical
of process inks used for photocolor separations), and the stacking (an
allusion to surplus goods and conspicuous consumption); and by conflating these with burlesque
allusions to sexuality and eroticism - as in the greasy holes
of Painting
of Depth or the pornographic photographs
of Untitled (1986).
Like an old - school formalist, they identify the shallow
depth of the image with the support as much as the paint, while the
allusion to fabric adds the possibility
of pulling back the canvas to reveal a still greater
depth.