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Gunderson's interest in the showy slickness of brand icongraphy in the gloss of technique turn into a fantasy fashion. "Fashion is means for representation. Fashionable would mean representation of a moment, pejoratively implied that the moment is fleeting. Speculative-fictions - Sci-Fi - fashion, perhaps misguidedly, attempt projections of futures to distend its transience by destroying its moment." The shoes are fine.
Trying to parse the difference in all these icono-render-realists of Juliano Villani, Orion Martin, Braunig, etc etc. (See: Emily Mae Smith at Rodolphe Janssen) "Its less the digitalization of painting than its conversion to iOS, then made surreal." (Gotta give the PR credit for at least calling out one Magritte reference.) Now to ascertain what our interest in all this, like, is. Obviously believing the digital's ability to somehow superpower the imaginative potential of painting and all its irruptive unconscious desire. Wasn't Guyton already tugging paintings from this unconcious-potential machine to prove his and its impotence? They just be paintings of course, but it is the trends' power as perhaps representative of a social-unconcious desire for digital potential that's interesting.
See too: Emily Mae Smith at Rodolphe Janssen, Stewart Uoo at 47 Canal, Sascha Braunig at Kunsthall Stavanger