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These paintings hybridize orthodox technique with utility product to declare the tension of the picture plane and its relation to representation consequently their self conscious visual content can be read as a post-Pop riposte related to a 'Potemkin Village' interrogation of the construction industries long term economic potential and validity. One could accuse this sector of the economy of playing a 'house of cards' and aesthetically this union of formal dysfunction a revelation of that suspicion. These paintings are intended to encourage amusement: Ashcan School meets speculative South Park.