Set against a grid-panelled background, Thomas Scheibitz’s ‘bud’ takes an idealised mechanical form. The painting is less of an aesthetic arrangement than an invention whose sole function is desirability. Dubai is a sublime logotype: a composite of pecuniary and devoted perfection. The utopian aura of architectural design shows the drips and inconsistencies of the artist’s hand: vision and making are flaunted as values of luxury, painting as the most efficient medium of transaction.

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