Howard poses an overloaded image of "strange" modernity, standing for different kinds of repression (they are repressed by their culture, our culture represses their culture) against something else: splashy abstracts redolent of the upper echelon worlds of the museum and the art market. 'Posed' suggests he doesn’t mean it. It's not that he does, but sincerity is not relevant to the structural thing he is doing. Rather than posed against each other, the readable elements and the abstract ones are actually visually integrated or amalgamated. Figurative symbol is composed as loosely as scrawled abstraction. And in fact they don’t really separate out visually (it's only when they're translated linguistically that they do that).

Matthew Collings

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