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Owens' signage always outsized its frame, the punk ethos of a fuck-all - without its blackened stylistic trappings - the sloths and cutsey beginnings were unbearably outlandishly brazen. The frame of Owens' painting adopts the virtual frame of the scalable, of billboards, icons and signage, painting as the translatable images of that much stronger visual culture of media, advertsinging, and the friendly ostenses of its grab to visually accost. What hides behind the nicety is an insidiousness of attentional assault.
See too “International Laundry 2″ at Parisa Kind , Amanda Ross-Ho at The Approach, Mark Handforth at Kayne Griffin Corcoran ,
