Pottery Barn and Eddie Bauer catalogs function in their emotive repackaging of idyllic mythos into the objects it sells, the same packaging of Boutoux’s PR here, imbuing wool thick with nostalgic ideals of romantic farm visions, warmth’s magic armor against the coldness of capital. Describing this doubling-nostalgia as Amanda Ross-Ho in a Pottery Barn suit would fail to acknowledge Robert Gober’s influence on all three and the remaking itself an affective trope. But whereas Ross-Ho’s scaling produces a sort of hippie signage as terror, or Gober’s cat litter as a story unto itself, the sweaters, toilet basins, and foot-jugs never best the nostalgia of craft that suffuses it.
