Mad as a cut snake in a proverbial mythological prison

Bill Lane constructs a densely packed, hyper-saturated photographic tableau from the discarded plastic detritus of late capitalism. Anchoring this chaotic field of deep blue netting, gears, and fragmented toys is a distorted, green masked visage whose segmented yellow tendrils mimic a posthuman Medusa, gesturing toward Lane's ongoing interrogation of masculinity and consumer spectacle. Grounded in Object-Oriented Ontology, his constructed composite image treats these mass-produced remnants not as passive refuse, but as active, autonomous participants within a darkly theatrical landscape of material excess.