Continuing the ideas of White Bronco, This Ain’t It depicts the unvaried nature of analog reproduction. The works begin to turn in on themselves as the repetitive and mechanized character of the painting technique becomes the subject of images which alternate and repeat their motives. Their designs begin to attest to their own explicit presence as their layers are “undone”,  “redone” and repeated. In this sense, the works testify to the methods by which they are conceptualized.

A rhythm is established as each previous work informs the next. Two layers are reduced to one while remaining a finished piece, this leads to the next work, where a single layer becomes two, mirroring the gesture of the first diptych. The following two sets foreground repetition within the painted motif as it first pasively appeared in the beginning of the series. Two repeated elements become three, and, elaborating on the initial mirroring, in the next diptych two repeated elements become one.

The series of paintings unfolds as a progression of contradictions brought on by mimetic depictions of mechanical reproductions. Digitally manipulated images are meticulously reproduced with strict adherence to their printed reference material. Painted with oil on canvas in a single layer, the works mimic the qualities of printed images by entirely eliminating visible brushstrokes and interpretive deviation. This approach results in an almost mechanical precision that emphasizes the visual characteristics of the source material while disregarding its initial content, allowing the paintings to achieve autonomy.

Designs substituting painterly motives allows for entirely flattened layering and juxtaposed image types induced by tight crops. Concepts initially developed through this approach later become fragmented typographic motives — signifiers stripped of their signifieds, inducing new signs when reproduced on canvas. In the second half of the series, the inherent demand for perfection in this painting technique is referenced through the deliberate introduction of flawlessly rendered flaws. In the final works, changes in scale, without changes in physical format, depict the method all previous images are derived from.