Using abandoned objects of production and references to cultural hybridity within contemporary capitalism, McCall plays with the absurdity of consumerism: stimulation of desire and inauthentic sexuality, gross availability of production and the alienation of individuals’ purpose through consumerism as proxy-spirituality.
Reflecting Herbert Marcuses’ Depressive Desublimation and Zygmunt Baumans’ Liquid Modernity, the haphazard assembleges urge a creeping discontent of social collateral, through the unreachable power of cult imagery and the coercion caused by reduced emancipation of the neglected youth, whilst nodding to the alluring nature of such methods particularly those found in ‘high’ fashion.
