And the expectation of the viewer, like in Lawler’s work, is also upended. He attempts to give the vie
wer ways to associate his disparate works—straight photographs, composited works, or works where accidents, like a faulty printer head, inspire him to shift the color of an image, and sculptures, that when collapsed in a still photograph, emulate the look of his images—and visually rectify what Moore says is a “puzzle not meant to be put together.” His commercial and personal work, which are charged with an equally absurd tone, making them appear slightly askew, arose out of his desire to fit together the disparate experiences of daily life: familial scenes, kitsch and popular cultural, the stock photograph and public and private self and spaces. Ethridge is interested in losing the context of the picture to see the image for what it really is. It’s “obvious irony” he says.