Cutting up older paintings, the making of these works is a re-purposing, to borrow that often-used “green” marketing tactic. Some works play on the idealized, stylized landscape; the scenery is fragmented, blurred, and distorted. Instead of drawing one in, the imagery bounces the viewer back with awkward crops and unreadability in some cases. The horizon line – typically a calming mechanism in landscape painting – is unclear, multiplied, or flipped. Fabric and wallpaper patterns are referenced in small crops, which isolates their details and eliminates their atmospheric decorative intent, to accentuate the object quality of the square panel. Cardboard, plastic and foam core – materials commonly used for model-making and prototypes, to refine a product before mass-production – reference the cycle of acquisition, accumulation, and disposal of consumer objects. The combination of the critique of this cycle (which seems endless and unable to reach a pinnacle of “enough”) with the commodity object nature of the pieces (their compact shapes, inoffensive colours, and all-over treatment) offers uncertainty and ambiguity.