In each scene, differences in the exposure times of
white, magenta, yellow, and cyan light pull different motifs — e.g. a doorway of detritus, a
chain link fence — to the fore as the series progresses; Shay even inverts one underlit panel of the trio horizontally.
Stingel's untitled 83 x 67 inch oil painting, dating from 2008, is a disturbing allusion to entrapment: an allover image of a
white chain -
link fence graded against a stark, gray background.