It begins with grapefruits. Set on black plastic sheeting, the fruit is dissected, its segments and viscera arranged and photographed in a manner that variously suggests something lushly floral, a forensic supposition, or darkly fetishistic erotica. The subsequent images are transferred onto polystyrene panels by a printer specializing in public signage (think grocery store awnings and billboards advertising Broadway musicals). Next comes a sequence of material treatments: acetone, pigmented epoxy resin, silicone caulking, and rice are applied by means that adorn and deface; corrode and embellish; and shift between gestural excess and functional efficacy. The result is an object mutually concerned with its component origins and their aggregate trajectory - a chimeric set of evocations: aberrantly wanton product photography; chemically induced geological micro-dramas; materially discordant narrative agendas.