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The semiotic distress of Bibby is possibly a place to hide the body lint of Olesen. Puns, in material and language, open up space for innuendo, for the filthy human Olesen has, for a while now, been hiding in crevasses. A crosswalk becomes a Halley abstraction becomes our semiotic Jail, both the crosswalk and painting-referent limit what had once been free space. Insect is misheard as incest and we all call you out for it because that is a freudian slip and you are mentally sick.
see too: Henrik Olesen at Reena Spaulings
