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A lot seems to have been made of Bosman's discrepancy of paint and image. People referring to the images as "annoying" and "bad metaphors" and "empty signifiers" and "numbingly stalemated" and maybe closest when Roberta Smith called them "parody-homage". The theme throughout seems that Bosman's "masterfully casual" brushwork would be better suited to more noble subjects. Wanting paint, not subject matter. An uncomfortable understanding that Paint is more noble than this surely. But then already back in 1982 Kate Linker called them "melodramatic tactics," said "Richard Bosman’s scenarios, for example, are depicted with irony, in thick and frenzied strokes which suggest the impossibility of evoking the “authentic” sentiments they once conveyed." Which sounds a lot like today. The affectual torture of signs and pathways, aren't sure how to relate. Like a bad writer pointing out they're closed doors and saying Brechtian.
See too: Andrew Norman Wilson at Futura
