Raspberry Poser offers a bewildering array of visual and cultural references, edited together in a moving image collage that conflates genre, technique and style. Hand-drawn animation, CGI renders, found footage, historic source materials, live action shot by the artist, and scenes of the artist dressed as a punk roaming Paris, converge to depict a world that displays its own history and contemporary references garishly yet ambivalently.

Beyonce and Mazy Star songs accompany us on this tour of New York and Paris, and as we see boutiques, restaurants, bedrooms, galleries, parks, and department stores, we hear them ask if we are in a dream or a nightmare or if we see anything of value when we look at each other. Among the CGI renders of polite anarchist symbols made of blood cells, and viruses mutating in shape and size, we also see a condom filled with love hearts dancing across our screens while Roy Orbison sings of loneliness. The way animations, CGI-rendered objects, live-action, and archival materials co-exist on the screen calls into question the history of film, visual media, and entertainment. We see how references are constructed and mediated through histories of media, and we witness the myriad techniques and expertize involved in contemporary storytelling. The ambivalent attitude and attentiveness to form tell us something about how culture is produced, mediated, and consumed.