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Simpson's is like watching objects preening for their digitalisation, become icons. Begin from "from flat printed matter, renderings of material culture discovered in used bookstores, university libraries, and online archives—pictures of medieval clothing, Art Deco patterns, or commercial packaging design."* Which as our relationships between 2 and 3D, virtual space and physical space become ever more fraught, (see the ability of IKEA insistence on flat pack, alleviating the physicality of distance and reduce shipping to basically reign over low-end furniture) the details become hardcoded, organics are put into firm boxes, codified, cubicles, far easier to measure pack ship and thus virtualize, it of course feels apt to Simpson's resurgence today: that we enjoy our detached contemplation of our oppressor. We move real world problems into aesthetic fields, which feels like control, they're lovely.
*Kate Nesin, Artforum
