Here Frahm has left behind the spare, haunting minimalism of O-OH, and added cars. It's possible this is meant as a complimentary piece of O-OH - a diptych, perhaps. An additional note of peril has been introduced to the mid-traffic scene: the dog. Should it go bounding off in the high spirits plainly evident in the breed, it will knock her legs from beneath her, and dash her head on the pavement. Three notable elements: the can in the bag, like many Frahm cans, is at the top of the bag, in clear violation of packing protocol; it is also a heavy object that ought to fall out, yet does not. Two: the car coming from the rear appears to be the front of the car that precedes it. Three: this is some fabled American town where the streets are paved with a gold-like substance, or at least painted in such a way to match the cars.
Celery again, naturally. Note how it picks up the highlights and hues of the pavement.
Here Frahm has left behind the spare, haunting minimalism of O-OH, and added cars. It's possible this is meant as a complimentary piece of O-OH - a diptych, perhaps. An additional note of peril has been introduced to the mid-traffic scene: the dog. Should it go bounding off in the high spirits plainly evident in the breed, it will knock her legs from beneath her, and dash her head on the pavement. Three notable elements: the can in the bag, like many Frahm cans, is at the top of the bag, in clear violation of packing protocol; it is also a heavy object that ought to fall out, yet does not. Two: the car coming from the rear appears to be the front of the car that precedes it. Three: this is some fabled American town where the streets are paved with a gold-like substance, or at least painted in such a way to match the cars.